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_JLLETIN OF THE UNIVERSITY OF UTAH 

Vol. 10 SEPTEMBER, 1920 No. 4 



Pageantry 



AND THE 

PILGRIM TERCENTENARY CELEBRATION 

(1620-1920) 

With Sample Pilgrim Pageants, Suggestions for Programs, 
Bibliographies, Etc., for the State of Utah 

BY 

PROF. B. ROLAND LEWIS 

DEPARTMENT OF ENGLISH. UNIVERSITY OF UTAH 

Chairman of the State Committee for the Utah-Pilgrim 

Tercentenary Celebration, to be held Dec. 21,1 920 

through the Spring of 1921 




EXTENSION DIVISION SERIES No. 2 
Vol. I No. 4 

Published by the University of Utah 
Salt Lake City 



Pageantry 



AND THE 

PILGRIM TERCENTENARY CELEBRATION 

(1620-1920) 

With Sample Pilgrim Pageants, Suggestions for Programs, 
Bibliographies, Etc., for the State of Utah 

BY 

PROF. B. ROLAND LEWIS 

DEPARTMENT OF ENGLISH, UNIVERSITY OF UTAH 

Chairman of the State Committee for the Utah-Pilgrim 

Tercentenary Celebration, to be held Dec. 21, 1920 

through the Spring of 1921 




Published by the University of Utah 

Salt Lake City 



University of Utah Press 



CONTENTS 

Pages 

Tile rtali Pilgrim Tercentenary Celebration 3-5 

Utah and the Pilgrims -.. 3 

Origin of the Pilgrim Tercentenary Celebration 4 

Date of the Celebration 4 

President Wilson 's Proclamation 5 

TTow Shall We Celebrate the Pilgrim Tercentenary? 5-8 

Pnblic Schools Must Take the Initiative 5 

Adequate Preparation a Prime Essential 6 

Simple Program for the Elementary Grades 7 

Planting Trees, Dedicating Parks, Erecting a Monu- 
ment, Etc. 7 

A Pilgrim Pageant Is Most Desirable 8 

The Pilgrim Pageant in Utah 8-11 

AVriting the Pageant Book : 11-14 

The Theme Of a Pilgrim Pageant 11-13 

Episodes Must Exemplify the Theme 13 

Episodes Must Be Dramatic 14 

Staging a Pageant '. 14-18 

Organization 14 

An Indoor or Outdoor Pageant 15 

Special Suggestions 16 

Urouping 17 

And Finally : _ 17 

Apjieiidix : Sample Pageants 

A Pilgrim Pageant for the Grades 18-21 

A Pilgrim-Utah Pageant 21-23 

'' A Pilgrim Pageant"— Victor E. Williams 25-40 

"A Pilgrim Pageant"— Ethel M. Connelly 42-61 

]5il)li()graphies 62-64 

Writing and Staging a Pageant 62 

Historical Development of Pageantry 62 

Community Drama :. 63 

Materials for a Pilgrim Pageant 63 

Costumes, Dances, Outdoor Theatre, Etc , 64 

C'urrent iVolumes on Plymouth and the Pilgrims 64 



LIBRARY OF C6Nqress 

APR 9 1^^3 



1 



THE UTAH PILGRIM TERCENTENARY CELEBRATION 

Utah and the Pilgrims 

The State of Utah welcomes the Pilgrim Tercentenary Cele- 
bration ! The year 1920-1921 will be a glorious one to us. It will 
be an anniversary long to be remembered. Enthusiasm for the 
^ celebration is ripe in every community. We look upon the Pil- 
{ft grim Tercentenary as a golden opportunity, and not as an un- 
^ welcome duty superimposed. This great commonwealth in the 
inter-Rocky Mountain Country looks forward to the celebration 
in commemoration of the landing of Pilgrims, 300 years ago, as 
a most welcome opportunity to pay noble tribute to those sturdy 
Anglo-Saxon forefathers to whom the people of Utah owe so 
much and to whom they are so closely and so directly linked. 

Perhaps only the people of Massachusetts can point with 
greater pride directly to the Pilgrim Fathers. But it is, indeed, 
a very truth that many of the people of Utah are among the 
spiritual daughters and real blood descendants of the Pilgrims. 
Notwithstanding the highly cosmopolitan nature of the popu- 
lation of Utah today, as varied as that of any other common- 
wealth in the land, the back-bone of Utah is essentially of the 
staunchest New England stock and of the most vigorous New 
England Puritanism in its more wholesome and rigorous sense 
of morality, rectitude, and justice. We point with just pride 
to our inheritance from our Pilgrim Fathers. 

If you will consult the roster of the names of the pioneers 
who came into the Great Salt Lake valley in 1847 and in years 
subsequent thereto, you Avill find therein some of the very same 
names that are to be found in the list of passengers who landed 
at Plymouth, Massachusetts, in the 1620 's. The blood of many 
a Pilgrim father, by direct descent, flows in the veins of many a 
citizen of Utah. In the very communities in which you reside, 
are persons now living whose ancestry goes back directly to 
those doughty New Englanders. 

And the very same Anglo-Saxon institutions, — the keen 
sense of fair play, the wholesome and abiding sense of the com- 
mon good, representative government, trial by jury, etc., com- 
bined \\^th love and deep regard for the soil, for the home, for 
the church, for the state, and for the school — which our fore- 
fathers founded in America at Plymouth, in 1620, were founded 
and permanently established in the inter-Rocky Mountain dis- 
trict by the doughty pioneers who came to Utah in 1847 and in 
years immediately following. The very civilization that we so 
firmly believe in, those very liberties that we so thoroughly enjoy 
today, the very hopes and aspirations that motivate us to higher 
and nobler endeavor, are a priceless inheritance to us direct from 
the Pilgrim Fathers ! 



So U(ali welcomes the Pili>Tiiii Tercenlenary Celebration as 
a glorious opportunity ! .1920-1921 is the banner year in this gen- 
eration. 

Origin of the Pilgrim Tercentenary Celebration. 

Preparations for the Pilgrim T(M-eentenary Celebration for 
sometime now, have been in the making. Some celebrations in 
the way of special programs, special exercises, and special pa- 
geants have already been held in several communities. During 
several years, prior to 1920, various organizations, societies, 
clubs, and institutions, have been formulating yjlans of more or 
less far-reaching nature. The spirit is in the air; the celebra- 
tion has assumed rather dignified proportions. 

In September, 1919, a conference of various organizations 
was held in Boston to consider plans for making the celebration 
of the Pilgrim Tercentenary a nationdl celebration. Representa- 
tives from the Drama League of America, the American Pa- 
geant Association, the Tercentenary Commission, the War Camp 
Community Service, the Drama Committee of the Twenti-th 
Century Club, and many others interested in the coming anni- 
versary, were present. As a result of this joint meeting, '*it was 
distinctly announced that the date for the opening of the celebra- 
tion fixed by the State Commission was to be December 21, 1920; 
the celebration running through 1921." 

Thus the Pilgrim Tercentenary Celebration, which we pur- 
pose to hold during 1920-1921, is not an individual or a local 
aifair of little or no consequence. On the contrary, with the added 
endeavors of the Sulgrave Association, the Daughters of the 
American Revolution, the Daughters of the Descendants of the 
Mayflower, and several other vital organizations in both Europe 
and America, the celebration has come to be not only a distinct 
national aifair, but also an international affair. 

In September of this year, the "Mayflower" will set sail 
from Holland, and will reach Plymouth, England, on Septem- 
ber 5. This day will be a time of rejoicing; and it will be ob- 
served throughout England and America as a day of solemn 
celebration. In this way the Pilgrim Tercentenary ^yill be in- 
augurated with the peojole of two great nations — the great 
Anglo-Saxon peoples the world over — paying proper homage to 
the Pilgrim Fathers. 



'&' 



December 21, 1920, to the Spring of 1921, is the Date Set for the 
Utah-Pilgrim Tercentenary Celebration by the State Committee. 

With the national celebration fixed for December 21, 1920, 
tho anniversary of the landing of the Pilgrims, through the 
spring of 1920, it is fitting that Utah should also observe this 



5 



date. Decemher 21, 1920, to the spring of 1921, gives ample time 
for adequate preparation and effective celebration , if the initia- 
tive is taken immediately. 

For the fostering of the celebration in Utah, a state com- 
mittee of which Prof. B. Roland Lewis of the Department of 
English in the University of Utah, is chairman, and Charlotte 
Stewart of the East Side High School, Salt Lake City, is seere- 
tar}^ has the matter in charge. This committee had its inception 
in the English Division of the Utah Educational Association at 
its annnal meeting in December, 1918. Thus the state-mde cele- 
bration has state as well as national significance. 

Accordingly the Utah Pilgrim Tercentenary Celebration is 
a state-wide movement that has had its origin in the educational 
interests of the state, and that has the enthusiastic support of the 
entire commonwealth. Hon. Simon Bamberger, Governor of the 
State, Hon. Leo. J. Muir, State Superintendent of Public Listruc- 
tion, Heber J. Grant, President of the dominant Church, and 
various otlier officials of high standing are officers on the State 
Committee. The movement has the hearty endorsement of the 
Utah State Board of Education and of the School Commission of 
theh L. D. S. Church Schools. The public and private schools 
of the state, various civic and religious organizations, business 
institutions, and the press, are eager that the state-wide celebra- 
tion shall be one that shall reflect great credit upon our fair 
commonwealth. 

President Wilson Has Set Aside December 21, 1920, by Special 
Proclamation, As a Special Day of Celebration. 

In order that the Tercentenary celebration might be prop- 
erly set in motion as a nation-wide concern. President Wilson 
on August 4, by special proclamation, set aside December 21, 
1920, as a day of national celebration. It is desirable that in 
every school in every community, and in every higher institution 
of learning there shall be syjecial exercises on that day. 



HOW SHALL WE CELEBRATE THE PILGRIM 
TERCENTENARY? 

The Public Schools Must be Relied on to Take the Initiative in Utah. 

To the public schools — teachers and pupils — of Utah belongs 
the opportunity of taking the initiative in celebrating the 300th 
anniversary of the landing of the Pilgrims. While other organi- 
zations will celebrate as enthusiastically and as well, the public 
schools have the largest opportunity of functioning in every 
community. They are the general dispensers of knowledge, they 
are often the most direct moulders of character, they are the 



most effective element for citizenship. To them belongs the 
larger obligation of presenting to their various communities 
those vital institutions which our Pilgrim Fathers gave us as a 
cherished inheritance. This is an opportunity that comes but 
once in a century, but once in every third or fourth generation. 
The public school folk of today are doubly fortunate ! 

Adequate Preparation for the Celebration is a Prime Essential. 

It must not be forgotten that the Pilgrim Tercentenary is a 
rather significant matter. It is, indeed, worthy of very serious 
consideration because it so directly concerns our own lives. 
Hence there should be adequate preparation made for the cele- 
bration of whatever kind. There should be no haphazard, sud- 
denly conceived and aimless activities. In this instance no per- 
son should pride himself merely for hasty work or for inconse- 
quential action however zealously carried out. This is a time 
when we should know what we are to celebrate as much as how 
we are to celebrate. 

The initial steps for celebration should be taken at once! 
Any delay will impair the possibilities of success. The schools of 
the state should begin preparations immediately at the opening 
of school in Septe?nber. A careful and accurate study of the in- 
stitutions of the Pilgrim Fathers should be made at the outset. 
While sentiment must be indulged in any celebration or in any 
patriotic venture, sentimentality should be taboo. Whatever 
study is made of Pilgrim and Anglo-Saxon institutions, it should 
have for its chiefest end proper and accurate information. There 
is no virtue in fostering untruths about the Pilgrim Fathers how- 
ever wholesome they may seem to be. 

Teachers of history and of literature should at once set 
themselves to the task of acquainting both pupils and patrons of 
each community with proper information concerning the contri- 
bution of the Pilgrims to Modern American life — to life right 
here in Utah! Studies should be planned, lectures arranged, 
books and magazines purchased and placed in the school or the 
public library. Every resource at command should be made use 
of. Nothing should be left undone that will lend itself to a more 
thorough understanding of the Pilgrim and Anglo-Saxon con- 
tribution to American life. 

The strong injunction to those who have the celebration in 
charge — it may be a single person or it may be a properly ap- 
pointed committee — is : See that you begin your preparations in 
good time and see that those preparations are complete, accu- 
rate, and vital ! Begin now! 



Simple Programs for the More Elementary Grades. 

There are many, many ways of celebrating the Tercenten- 
ary. Their number is legion. For the more elementary grades, 
especially, various programs of patriotic songs, suitable declama- 
tions, famous speeches, artistic dances, and simple but artistic 
tableaux are in good taste. Historic costumes may be indulged. 
There is such a profusion of material on this subject that no 
teacher need experience any difficulty in arranging and prepar- 
ing a suitable program. Ingenuity, patriotic zeal, and patience 
in the matter will receive their proper reward in the form of a 
very successful celebration. 

Indeed a whole year's program of activities might well be 
undertakeu. The history of the Pilgrims, their costumes, man- 
ners ,etc., may be studied. Places of interest, important inci- 
dents, striking personalities, are always good material. Anglo- 
Saxon and Pilgiim ideals, principles, and activities should be 
made a great deal of- — especially as they function in our mod- 
ern life. 

And above all, let us make use of the pioneer material — the 
|)ioneers of Utah are the spiritual daughters and blood descend- 
ants of the Pilgrims — of our own communities. Bring the grand- 
fathers and the gradmothers, perhaps they. are the first settlers 
of your comnumity, into the schools. Have them relate their ex- 
periences and see how they \vill wax warm in patriotic fervor 
with the telling. Give them a delightful reception and render 
them an ovation! We owe it to them almost quite as much as 
we owe it to the Pilgrim Fathers. 

Perhaps the grades would care to attempt the writing and 
staging of a simple Pilgrim Pageant such as that 'written and 
staged by the pupils of the Nathaniel Hawthorne School, Oak 
Park, Illinois. This pageant is sketched in outline in the appen- 
dix of this monograph. 

Various Communities Might Celebrate by Planting Trees, Dedicating 
a Park or Erecting a Pilgrim or a Pioneer Monument. 

Any national celebration has for its end our doing homage 
to the past, impressing ourselves with a renewed consciousness 
of the significance of the present, and projecting our noble faiths 
into the future. A celebration in honor of the Pilgrim Fathers 
should be not so much a reminder to the present generation as 
a virile testimonial for generations yet unborn. As a constant re- 
minder of what our forefathers have done, it might be well in 
a given community to plant trees, or dedicate a public park to 
the Pilgrims. Or if no similar monument has ever been erected, 
it might be well to erect a monument by popular subscription 
or otherwise and dedicate it to the Pilgrims or to the pioneers 



who founded the town in which the celebration takes place. A 
park or a monnnient so dedicated would be a priceless posses- 
sion of which the coinuumity would justly be proud. 

A Library or a New School Building is a Good Testimonial. 

In some connnunities, the time may be ripe for the establish- 
ing' of a public or a school library or for the erecting of a now 
grade or high school building. If so, nothing would be more in 
keeping with a sense of loyalty to our forefathers than to dedi- 
cate the library or the school building to their memory. It 
would be in good taste to name the library or the school build- 
ing after the Pilgrims, the Tercentenary, or tlie Pioneers. The 
dedicatory exercises, in such a case, would be long remembered, 
and tlie library or tlie school would be a constant and perma- 
nent testimonial to the youth of the community. 

A Pilgrim Pageant is a Most Desirable Method of Celebrating 

the Tercentenary. 

For the upper grades and high schools, the most popular 
method of celebrating the Pilgrim Tercentenary in America is 
in a Pilgrim pageant — a Pilgrim pageant ivritten and staged hy 
the school itself. Many communities have already celebrated in 
this manner ; and many others are planning to do likewise. Pa- 
geantry is one of the most popular dramatic forms in America, 
and nothing would be finer and more appropriate in the way 
of a Tercentenary celebration than a fine conmnmity pageant. 



THE PILGRIM PAGEANT IN UTAH 

The State Committee for the Utah Pilgrim Tercentenart/ 
Celebration is very eager that wherever it is possible, the various 
communities and high schools of the state shall celebrate In 
terms of a community pageant. Since many other states and 
many other comminiities are resorting to pageantry, it is highly 
desirable that Utah shall celebrate in a state-wide movement 
in pageantry that shall present and exemplify those Anglo-Saxon 
institutions which the Pilgrim Fathers established in America, 
at Pl3anouth, Massachusetts, 1620. It is for this purpose pri- 
marily that the State Committee authorized the issuing of this 
special bulletin containing some simple directions for ivrlting 
and staging a pageant and some first hand examples of pageants 
stilt able for grade and high school presentation. 

We look to the high schools — both teachers and pupils — of 
the state for much of the initiative in carrying out the state- 
wide movement in writing and staging a Pilgrim pageant. The 
plan proposed is that each high school in each community shall 



9 

assume the leadersliip and the obligation in writing and staging 
such a pageant. In every instance the local pioneer history may 
be connected directly with the material of the Pilgrim Fathers. 
Since Utah pioneer history is so directly connected with the land- 
ing of the Pilgrims, little difficulty should be experienced in 
working out a most excellent pageant. Such a bit of work might 
well be entitled a Pilgrim-Utah Pageant. 

The making and staging of the pageant should be strictly 
a community affair mtli the high school as the fostering parent. 
The several departments in the high school may co-operate in the 
actual working out of details. Under the direction of a com- 
mittee, or better still under the direction of a pageant master, 
the Department of History may collect all the necessary his- 
torical data about Anglo-Saxon institutions. Pilgrims, American 
history, and the Utah pioneers; the Department of English may 
assume responsibility for the organization and writing of the 
pageant; and the Department of Public Speaking in co-opera- 
tion with the Departments of Physical Education, Music, Do- 
mestic Art, and Manual Training, may supervise the actual de- 
tails of presentation. If there is the proper spirit of harmony 
and co-operation — and in the making and staging of a Pilgrim 
Tercentenary pageant, patriotic and loyal service on the part of 
everyone should preclude any possibility of dissension — a pa- 
geant can be produced that will be a credit to the community. 
In any instance the whole matter must be under the general su- 
pervision of a pageant master, or a committee, ivhose word must 
be law. 

In the Appendix of this monograph there are bibliographies 
of volumes dealing with the various aspects of pageantry. It 
would be well to secure some of them for the school library or 
else have the public library secure them. It might be well to con- 
suit the list. 

A pageant, the most democratic and the least aristocratic 
of arts, is the most desirable method of celebration because the 
Pilgrim Tercentenary is a matter of the people and not a mat- 
ter of tlie chosen few. It is the entire nation that celebrates 
ratln^r than the individual. The nation celebrates through the 
many, many community groups. Every citizen is proud of his 
allegiance to his country. Philip Nolan, the man without a 
country, has not become the nation's idol. Pageantry is the 
one means whereby all the people of a community, not the spe- 
cial few, can exj^ress tliemselves fully in doing honor to those 
things and those institutions that make their own community 
civilization possible. Pageantry is the great democratic art of 
the folk: it can be participated in equally by rich and poor, 
learned and unlearned; and, it can be appreciated equally well 



10 

by tli(> untutored as by the elite and cultured. Pageantry is the 
nioutlipiece of the entire people. 

Thus a community pageant renews our faith and our alle- 
giance to those institutions tliat are our own priceless inher- 
itance. It emphasiz.es and exemplifies those things that are fun- 
damental with us, but which, being ever present, are not always 
present to our consciousness even though they function directly 
in every noble impulse and deed of our lives. A comnmnity pa^g- 
cant solidifies and keeps alive the race consciousness. It is a 
lieroic and noble spectable that is a reminder because it reveals 
ourselves to ourselves. A pageant is one of the most vital com- 
nmnity invigorants. It makes for the highest type of citizenshixx 

Moreover, a pageant exemplifies in a gist what otherwise 
would require untold time and money to achieve. "A pageant 
is a long road drawing itself ux^ to the summit of a hill from 
which it can review in sum its trailing course below." A com- 
munity pageant boils dowii three centuries of life into a sliort 
two hours of richest quintessence of social x^rogress. In a flasli 
a whole nation's development or its fundamental institutions arc 
presented to the eye. Thus in the short time required to x^resent 
a Pilgrim x>ageant, a citizen of a nation may have visualized and 
exenqjlified before him those very Anglo-Saxon precepts that 
the Pilgrim Fathers have given to him as his richest inheritance. 
He is made to see them, he is made to feel them as never before ; 
and he is the better citizen for having had impressed anew upon 
his consciousness those very things that make his existence in 
his community possible! 

And a community pag<^ant develoxjs community solidarity. 
Since a community pageant is coinmon property, all classes may 
X)articipate therein, all classes may attend its ])erf()rmance. A 
pageant is, in fact, an idealized community epic history, con- 
ceived and x^resented dramatically and simply in the open fields 
and und(>r llie warm sunshine, by the co-operative efforts of 
creative local townspeople. A community pageant is, as it were, 
no respecter of persons. The whole affair is an amateur one, 
rather than a professional one. No set or sect has any m.onopoly 
on it. A community x>Hgeant may be made to be the most ef- 
fective socializing factor in the communit5\ A Pilgrim pageant 
Xjroperly worked out and presented in a spirit of real x)atriotic 
devotion to our Anglo-Saxon inheritance, will be the greatest 
force for good in a connnunity tliat it has ever been its X)rivilege 
to have. It makes for unity and for solidarity because it makes 
the entire connnunity group think, feel, and want to do and want 
to be! A pageant is one of the greatest forces for American- 
ization! 



.11 

WRITING THE PAGEANT BOOK* 
The Theme of a Pilgrim Pageant- 

The function of a pageant, like the function of any work of 
art, is to emphasize some underlying principle and to create a 
singleness of impression upon those who witness a performance 
of it. A pageant must be fundamentally about something: it 
must have a theme, a singleness of purpos,e and intent. 

A pageant is really a work of art and as such must be 
specifically and definitely about something. A nation tbat cares 
not for its past, will soon find that it has no past, will soon find 
that it has no present, will soon find that it deserves no future ! 
America docs care for the past! And to recognize a past means 
that a nation appreciates and holds sacred its fundamental in- 
stitutions. The institutions that our Pilgrim fathers brought 
to the New World and which have been handed on to us as a 
priceless inheritance, are fundamentally Anglo-Saxon, 

''Our deeds will travel with us from afar; 
And Avhat we have been makes us what we are. " 

A Pilgrim pageant, then, should have for its theme some- 
thing that is fundamentally Anglo-Saxon. 

And what are Anglo-Saxon institutions? One can best de- 
termine them by studying the spirit that has prompted the vital 
deeds in American history. Institutions, it must be remembered, 
are expressed in actual deeds — not in cheap heroics and soap- 
box oratory. Two of the most fundamental motives in American 
life, motives that have again and again been the pulse that 
prompted our Pilgrim Fathers to noblest action, are the spirit 
of fair play among meti and the deep sense of the common good. 
These often manifest themselves in various ways — modern de- 
mocracy, liberty, trial by jury, many public institutions, etc. ; 
but on careful analysis, one will find that these are but mani- 
festations of the two fundamental impulses named above. 

Sometimes it is said that the Anglo-Saxon and the Pilgrims 
contribution to America are love and regard for the soil, for the 
home, for the church, for the state, and for the school. No doubt 
these are characteristics of our modern life. And here in Utah 
this five-fold statement of ideals and motives is especially applic- 
able. 

In writing a Pilgrim pageant, then, it would be well to use 
one of these themes as an underlying idea and motive. This 
will tend to give the pageant the desired unity, and will direct 
it to a given end. Thus in the appendix to this monograph is a 



•The best volume on writing and staging a pageant is Beegle and Crawford's 
"Community Uramn and Pageantry," Yale University Press, New Haven, Con- 
necticut. 



12 

sample oiitliiio of a simple Pil<>Tim-Utoh pageant that lias for 
its intent the exemplifying and emphasizing- of the love and re- 
gard for the soil, for the houie, for the cJnirch, for the state, and 
for the school. The entire pageant may be in simple tableau or 
in enlarged scenes. As here given it is only in suggestive out- 
line. It is to be noted further that the entire series of tableaux 
or scenes is given still further direction by the use of the device 
of a herald who, through properly worded speeches, makes clear 
that only as modern America continues to love and regard the 
soil, the home, the church, the state and the school will she con- 
tinue to be the great liberty loving nation that she is. 

If you will study carefully the Pilgrim pageant, by Victor 
E. Williams, given in full in the appendix of this mongraph, and 
the Pilgrim pageant by Ethel M. Connelly, also in the appendix, 
you will see at once that these two Pilgrim pageants have two 
different themes. The former adheres very strictly to the pre- 
cept that the spirit of fair play is fundamental in our Anglo- 
Saxon-Pilgrim inheritance. It mil be noted that the spirit of 
fair play is the key note of each episode and each interlude. The 
latter emphasizes the precept, the deep sense of the common 
good is what America has inherited from Anglo-Saxon-Pilgrim 
sources. Here, again, each episode emphasizes and exemplifies 
the central theme, the deep sense of the common good. In neither 
pageant is the theme ever lost sight of. The theme in each case 
is very definitely perceived by the reader, because the writer 
thereof deliberately planned to emphasize one precept and one 
precept only. These two pageants will amply repay careful 
study. 

It cannot be too strongly emphasized that in writing a 
pageant there must be some central theme to give it direction 
and to have it produce a singleness of impression upon the 
assembled group. A pageant, like any real art form, must leave 
with the observer or hearer a singleness of effect. If several 
themes are used, or if there is no underlying theme at all, there 
will result nothing but confusion or vagueness. It will not be 
a pageant at all, because a pageant must be specifically about 
something. Indeed the one Avay by which to spoil an otherwise 
promising pageant is not to have some central underlying theme 
to give it shape, direction, and unity of effect. A pageant has 
for its end and aim the emphasizing and exemplifying of some 
fundamental precept. And whoever writes the pageant must 
determine definitely beforehand — indeed before pen is put to 
paper — just what that precept is ; and then he must marshall all 
his materials and methods to the end that he shall make that 
precept clear to the audience that has assembled to witness a per- 
formance of the pageant. 



1 o 

The Episodes of a Pageant Must Exemplify the Theme. 

Once the central intent, the theme, of the pageant has been 
definitely decided npon — and the writing of the pageant should 
not be started before this decision is made — the next task is the 
constructing and the writing of the pageant itself. The theme 
must be made manifest; it must be exemplified so that an 
audience will be made completely aware of what the underlying 
precept is. 

If you have never written a pageant before, you must be 
cautioned that the method of pageantry is a bit different from 
that of a play. Here there is no conflict of forces giving rise 
to what is called plot ; there is no striking crucial moment com- 
monly called a climax that is the result of long antecedent causes ; 
there are no leading characters who ' ' star ' ' throughout the per- 
formance. Moreover, there is no narrating, there is no mere 
relating of happenings in chronological sequence. On the con- 
trary, the method of pageantry is largely that of concrete, ob- 
jective pantomine -with a minimum of dialogue. 

Indeed, since the writer must make clear to his audience his 
underlying theme, he must deliberatel}^ set himself to the task 
of effecting this end. And since a pageant consists of a series 
of striking episodes, each one of which is an example of his 
theme, the writer of a pageant should select from his material 
just exactly that subject matter that Avill exemplify the one thing 
that he wishes to make clear. If his theme is fair play, then he 
must select from history such striking incidents as will illustrate 
fair play; and if his theme is the common weal, then he must 
select from history such material as will illustrate the sense of 
the common good. You will come to a more complete under- 
standing of the application of this principle of pageant writing if 
you will carefully study the pageants printed in this monograph. 

It is noteworthy that, on the whole, the episodes used are 
reproductions of actual occurrences. It is noteworthy that these 
occurrences are not told about, they are not narrated; on the 
contrary they are examples of the theme itself. The things are 
actually made to happen. If a thane is tried for his guilt by a 
jury rather than by thrusting his hand into boiling water, then 
a scene in which this is actually done must be used; if the Pil- 
grims signed a Mayflower compact, then such an actual signing 
should be used; if Abraham Lincoln freed the negro from slav- 
ery, then a scene must be used in which such freeing actually is 
presented; and if modern idealistic America rises en mass to 
make the Avorld safe for democracy, then she must be shown 
doing this very thing. The method of pageantry is that of con- 
crete, objective exemplification in terms of actual scenes and 
pantomime. 



14 

The Episodes Must Be Dramatic. 

Since the function of a pageant is to move the audience to 
emotional response to the underlying idea, the episodes of the 
pageant must be dramatic. They must be live, virile, and mov- 
ing. They should have the element of spectacle and of tableau 
effect. They must be something that can be seen rather than 
heard. And that the series of episodes should be climatic in 
order and in intensity goes without further saying. The last 
episode should be the most moving one — a grand finale as it were. 
It is here that the entire audience should be brought into a unity 
of response. Turn to the pageants in the appendix to see how 
the writers aimed to achieve this very end. 

Only the bare essence, the very gist of the matter, of a given 
incident or happening should be put into the episode. A very 
nice sense of selection of material must be exercised. The danger 
usually is that entirely too much unessential material will be 
used. Any surplus material serves only to confuse, and to bore 
an audience. They Avant to see the incident ; and they want to 
see it clear-cut and quickly. If you will study the two complete 
pageants in the appendix to this monograph, you will see just 
how much of the incidents has been selected for presentation and 
just how much was totally discarded. 

A further study of these pageants will reveal, too, that the 
most effective results are had through pose, pantomime, and 
concrete dramatic action. It is noteworthy that there is a large 
amount of stage-setting and stage-business, but comparatively 
little dialogue and text. In pageant writing very little dialogue 
is used. What dialogue is used, is the few well selected speeches 
that convey a great deal of material in very small compass. It 
is dialogue that is brief, direct, and clear-cut, but very conno- 
tative and suggestive. 

Condense ! Condense ! Condense to a minimum of dialogue 
and make use of pose, concrete objective pantomime, and tab- 
leau — this is the method of pageant writing. The completed 
draft of a pageant is largely stage-description and stage-direc- 
tion. A pageant cannot and does not give attention to unessen- 
tial details. It deals with a few fundamentals in a broad, general 
way, in a few broad strokes. The large simplified effect is what 
must be achieved ; and to do this, there must be rigid condensa- 
tion to essentials in the use of materials and dialogue. 



STAGING A PAGEANT 
Organization 

Long before the writing of the pageant is completed, prep- 
arations for its presentation will have been got under way. And 
the matter of presentation is a rather comprehensive matter, if 



15 

the presentiition is to be successful. The first consideration is 
the organization of your people who will aid in the presen- 
tation. 

At the outset the whole matter of the pageant — its writing 
and its staging — should be placed directly and authoritatively 
under the direction of a Pageant Master, who shall have general 
supervision of everything and ivhose word is law. Somebody 
must be "boss." Then there should be the various committees 
each of which has as its chairman some very dependable person. 
The pageant master is ex officio a member of each committee; 
and each committee is directly responsible to the pageant mas- 
ter. There must be the committee on the Pageant Book tliat 
must provide the completed written pageant, there must be the 
Finance Committee and its chairman as treasurer, who must 
raise all funds by whatsoever means and must account for all 
disbursements ; there must be a Publicity committee that must 
carry out a long campaign of publicity via bill boards, press no- 
tices, post cards, posters, special lectures, special entertain- 
ments, etc. ; there must be a Staging Committee, the chairman of 
which should have the actual details of presentation in charge ; 
then there needs to be Committees on Grounds, on Conveniences, 
on Music, on Costumes, on Dancing, etc. And there may be an 
Executive Committee composed of the Pageant Master and the 
chairmen of the Committees. 

And since the pageant is a community affair, seek every op- 
portunity to give prestige to the work by having various prom- 
inent men and women act as members of the several conunittees. 
Every aspect of the life of the community should have repre- 
sentation. 

An Outdoor or Indoor Pageant. 

It is the hope of the State Committee that those communities 
giving Pilgrim pageants will make them open-air presentations 
next spring. Naturallj'^ pageantry is for out-door presentation 
rather than for indoor presentation. Moreover, it is, on the 
whole, a less expensive task to stage an outdoor pageant; and, 
too, the average amateurs are not able to get the best effects 
with the improvised scenery for an in-door pageant whereas, 
in an out-door pageant, the natural background often does very 
well for scenery. 

Again, wdth fine balmy weather out of doors, the entire com- 
munity will attend. Many persons who hesitate about going to 
a theatre or other large hall, will not hesitate to attend an out- 
door entertainment. An out-door pageant is the best means of 
assembling the entire populace of a community. 

A word of caution is in order, if you make your pageant 



16 

an out-door one. The grounds should be amply policed by the 
police force of your town and by Boy Scouts. Autouiobiles should 
be parked at least two blocks away so that the pageant will not 
be disturbed by honking noises, etc. Permit no selling of can- 
dies, etc., during the performance. Comfort stations should 
be provided, physicians should officially be in attendance for 
emergencies, and the entire proceedure should be made sane 
and safe. Red Cross nurses may be on duty for the time. If 
all these provisions and precautions are made clear through 
the press, the community will feel disposed to come because spe- 
cial provisions have been made for their comfort. Make every- 
body feel at home ; provide them mth programs and make their 
seats comfortable even if they are to sit on the bare ground. 

Special Suggestions. 

In presenting the pageant everything should move along 
with clock-like precision. Those who participate in it should 
keep in mind that for them the occasion is not a social affair in 
which valuable time and energ>^ are spent in mutual admiration 
or in petty dissention. The one duty of the entire cast is to get 
the theme of the pageant over to the minds and hearts of the 
audience through a series of episodes. These should stand out 
clearly and distinctly, and should follow each other without any 
lapse of time between them. Team work of the first order is es- 
sential ! There should be no confusion, no hurry, but all should 
move forward with beautiful rhythm, cadence, and dignity. A 
beautiful Pilgrim pageant should not be spoiled by tittering, by 
listlessness, or by inattention to duty. 

The pageant should be free to the public. Then, special 
provision must be made for the finances. Public subscription, 
tax levy, special individual donation, sale of program, etc., may 
provide the funds. But since the pageant is a community affair, 
there is no logical reason why the Board of Education or the 
City Council should not set aside a sum of money for the occa- 
sion. Any one or any combination of methods may be used to 
take care of the finances. 

The matter of make-up and of costumes will need special 
attention as will the music, the dances, etc. These details should 
be placed into the hands of the most expert persons on these 
things in your community. The large general effect must be 
sought for rather than the detailed one. Color, lines, designs, 
draping, etc., must be on broad lines rather than along nice 
scruples. Wherever possible use the costumes and materials of 
the pioneers who will be glad not only to lend them but even to 
Avear them and participate in the episodes. 



Grouping. 

The one difficult thing in staging a pageant is the matter of 
grouping. Of course a pageant is always somewhat procession- 
al; that'is, a series of episodes or pictures are drawn across a 
stage before an assembled group. But the individual episodes 
must have individual beauty, dignity, charm and unity. In a word 
they must be works of real art. Each episode is, in a sense, a 
little picture. The characters must be so grouped and so ar- 
ranged, that in color, in line, and in pose there w^ill be a beauti- 
ful and harmonious arrangement. This matter of grouping re- 
quires an artistic and trained eye. The director will have to 
experiment and experiment again until the proper grouping 
effect is obtained. But it may be said that the chances of suc- 
cess of the pageant depend in very large measure upon the ar- 
tistic grouping in the various episodes. 

And Finally. 

Whoever the director is, and whoever take part in the train- 
ing of those to participate in the pageant (1) be tactful, (2) keep 
a spirit of cheerfulness and optimism, (3) know how to do things, 
(4) don't talk too much, (5) keep an even poise and temper, (6) 
have infinite patience, (7) and with a patroitic fervor, keep in 
mind the one great purpose of the pageant — tlie instilling into 
the hearts of the connnunity assembled a renewed sense of what 
our Angio-Saxon-Pilgirm-modern American civilization is! 

And don't lose faith. There will always be those who will 
not share 3^our zeal. The cracker box jury at the corner grocery 
will sneer and will indulge in cheap levity at your efforts in 
behalf of a community Pilgim Pageant; and between vicious 
squirts of black tobacco juice will drawl, ''I wouldn't give tew 
cints to see the hull burn'd show." But when the "show" comes 
of¥ those very cynics are the first ones on the ground read}' to 
take the most advantageous seat, especially if the "show" is free 
of charge. And the chances are if your pageant has been well 
conceived, well written, and well staged you have had your re- 
venge and your reward as well — the chances are that those 
very men have been so impressed with the beauty, the art, and 
the patroitic theme of the pageant that they have lost all their 
cheap cynicism in their functioning with the assembled grouj) 
in terms of the most zealous patriotic feelings. And as the 
pageant closes, all singing the beautiful lines of our national 
anthems, the heart of the critic and cynic wells with pride of 
his countr}^ — and liis soul, too, has been saved for America and 
for Anglo-Saxon institutions ! 



APPENDIX 



A'OTK: — The four |t:ii;eants Imto crivfn are liut miKcestivt' of ivhat may b«- doiip 
by auy hi^h sfhool in lHaii. They may he taken a.H patternM to follo^v or they nuiy 
he iiNed just as* they are hero printed. 

The first t«-o may he used in the sradet* or in the Junior hi}!:h school. The last 
t^vo by Victor 10. 'Williams and Kthel Connelly arc more apiiroprinte for senior 
hi^h school presentation. 

Permission is hereby jjiven to any School or Community to use all or any part 
of these pageants, provided that :i statement of your plans is sent to the iJtuh 
I*ilK:rim Tercentenary Committee, Kxtension Division, I niversity of rtah. Salt 
)-ake City. 



A PILGRIM PAGEANT FOR THE GRADES 

''The following pageant* was written by the pupils of the 
Nathaniel Hawtliorne School of Oak Park, Illinois, in commem- 
oration of the tercentenary anniversary of the Tjanding of the 
Pilgrims and was presented at the Hawthorne Gymnasium on 
the third and the fourth of June (1920). 

Tlie pageant is divided into a prologue and six episodes. A 
brief synopsis of these episodes, together with extracts from the 
dialogue, is reprinted below. 

It will be noticed that each part, while necessary in carry- 
ing out the development of the theme, is so arranged that op- 
portunity is given for much interesting variety in entertain- 
ment. 

The last two episodes show the expansion of the Pilgrims* 
ideals of liberty, freedom, and equality, all of which resulted in 
the Declaration of Independence and in the conquering of the 
wilderness. This last part is beautifully symbolical. 

As is very evident, this is a remarkable production for chil- 
dren in the grades. It shows creative power, dramatic instinct, 
familiarity with historical events, and considerable ability to 
see the underlying significance of these events. 

Episode I (English Scene). 

Setting — Ma,y-day scene in English village. 

Children are playing, picking flowers, and dancing rustic 
dances such as, ''A Hunting We Will Go." The entrance of 
liobin Hood with his men furnishes more gaiety and merriment. 
In the midst of the dancing, the Pilgrims enter to say farewell. 
Their somber attire and quiet demeanor emphasize the joy and 
liajjpiness that they are leaving behind, as they start their un- 
certain adventuring after religious freedom. 

Episode II (Dutch Scene). 

Setting — A market place in Holland. 

Small Dutch children are attempting to inveigle the Pilgrim 



*R,e-printed by special permission from '•Visual Education," Vol. 1, No. 4, 
pp. 41-44, June, 1920. 



19 

cbildren into playing their games and reading their books with 
tliem. The Pilgrim elders behold this proselyting with horror 
and send the children to their homes. This scene makes appar- 
ent the immediate reason for leaving Holland. 

Episode III (Indian Scene). 

Setting — An Indian village. 

Squaws, Indian maidens, and children carry on the various 
activities characteristic of an Indian village ; some weave, some 
grind maize between stones ; a medicine man weaves charms be- 
side the large war drum ; a mother sings a lullaby to her papoose ; 
the small boys engage in a miniature hunt. A sound from the 
forest halts all motion until the chief with his befeathered and 
painted warriors returns from a successful hunt. All join in a 
dance of triumph which is interrupted by a breathless runner 
announcing the approach of a rival tribe. Instantly the peaceful 
scene changes; the men prepare for battle with war song and 
dance. 

This scene is intended to prepare for the coming of the Pil- 
grims and to show the Indians as they were before the arrival of 
the white men. 

Episode IV (The Mayflower). 
(Scene 1) 

Setting — Main room of the cabin. 

John Carver, Miles Standish, Bradford, Billington, Elder 
Brewster, Alden, Hopkins, Robinson, and others whose names 
are household words, are seated in the cabin, with the women 
at their spinning-wheels. The need for establishing an accept- 
able government in the new colony is discussed as follows : 

Cakvek: It seemeth we have need to discuss plans for ye 
carrying on of governmente of our colonic. It seemeth clear 
that an understanding must be sought whereby we may have an 
equal chance. 

Billin(;ton: Master Carver has well said; we should un- 
derstand each other that when we come ashore we should use 
our own libertie. 

Hopkins: I agree with Master Billington; we were to land 
at ye mouth of ye Hudson ; landing in this strange bay certainly 
absolves us from any obligations to the Virginia Company. 

Bradford: Truth, no one hath power to command us. Ye 
patente we have is for Virginia and not for New England, which 
belongs to another governmente with which ye Virginia Com- 
pany hath nothing to do. We have no place of appeal. Our 
worthe brother hath put ye case well. 



20 

Standisii: Therefore, we must make a law for ourselves; 
a colonic cannot exist without a governmente. 

John Alden: Yes, Friend Standish, that is what we must 
therefore do. 

Robinson : Let it not be a political manifesto such as a 
scheming- cabal, let it be a policie of self-governmente imposing 
equal laws on all and giving to all an equal chance, as Master 
Carver said. 

Standish : It is to be man for man, and ye simple manhood 
in each man is what counts. 

Elder Brewster : Ye central idea be ye right of each to his 
OAvn individual libertie, ye obligation to each of us to use liis 
libertie as not abusing it and subordinate his mere selfish aims 
to ye common good, and to make of our ])ody politick genuine 
human brotherhood. The Kingdom of God cometh not with 
observation. 

(Scene 2). 

Setting — Same cabin in the Mayflower. 

Six conspirators, members of the crew, plot against the ^^'el- 
fare of the Pilgrims, but are finally obliged to sign tlie May- 
flower compact wdth the others. This momentous historical 
event is given its deserved importance by the solemn attitude 
of the Pilgrims, and the dignified reading of the Compact, to- 
gether with the chanting of the 100th psalm. 

Episode V (Scene 1). 

Setting — Interior of a log cabin in Plymouth, IMass. 

Nineteen men gathered about the table are discussing the 
establishment of a military force for protection against the In- 
dians. Miles Standish is selected leader; at his request retain- 
ing the title of captain. As they are talking, Desire Minter, wihl 
with fright, rushes in screaming that the Indians are coining. 
The men seize their arms as the hubbub and confusion increase 
otuside. Suddenly the Indian, Squanto, appears in the doorway 
with the dramatic greeting, ' * Welcome Englishmen ! " In the en- 
suing conversation, the friendly attitude of the Indians is made 
clear. 

(Scene 2). 

Setting — A forest glade. 
Massasoit, with his graves about him, is awaiting the Eng- 
lish. Winslow entering with gifts, announces the arrival of 
Carver wdtli his musketeers. A treaty is made and the peace 
pipe smoked. 

(Scene 3). 

Setting — Street before Independence Hall. 



21 

The street is crowded with cheering people ; a small band of 
Hessians marches by jeered at by the mob ; Jefferson, Franklin, 
Sherman, Adams, Livingston, and other patroits pass into the 
building. Several young men join a regiment of ragged Conti- 
nental soldiers and march away while the band plays "Yankee 
Doodle." Adams again appears on the balcony and reads the 
Declaration of Independence. The people shout, the royal coat 
of arms is torn down, and a small boy cries, "Ring, grandpa. 



ring ! ' ' 



Episode VI. 



Setting — The forest, with America asleep on a dais partially 
concealed by a misty curtain. 

The spirit of the Wilderness with the Powers of the Forest, 
the Powers of the River, and the Mist Maidens dance, their 
revelry being interrupted by a shot. The spirits disappear in 
anger as a group of pioneers enters, but re-appear, with branches 
with which they lash in vain the Pioneers. As they go, the Pow- 
ers of the River stream in with white scarfs (foam) and attack 
the Pioneers. The Pioneers show signs of weariness and are 
gradually overcome by the Mist Maidens and the Spirit of Fever. 
They are revived, however, and conciliate the Spirits of the 
Wilderness, all joining in a song. At the end of the song a large 
band of other nationalities enters and America awakes. From 
the large group come leaders bearing gifts to America, democ- 
racy, libertv, education, and art. They sing "America the 
Beautiful.' '' 



A PILGRIM— UTAH PAGEANT 

(A Suggested Outline.) 

A doughty herald dressed as an Anglo-Saxon declares that 
the Pilgrims brought with them from England to the New World, 
Anglo-Saxon institutions, the fundamental elements of Ameri- 
canism — love and regard for the soil, for the home, for the 
church, for the state, for the school. 

Prologue 

Tableau: The well known ''The Landing of the PiUjrims," 
a picture of which may be found in almost any book on Ameri- 
can history or on New England. John Carver, AVilliam Brad- 
ford, Miles Standish, Edward Winslow, and others may be in- 
dividualized. 

Recitation: "The Landing of the Pilgrims,'' by Mrs. Doro- 
thea Felicia Hemans. 



22 

Episode I. 

Scene I: Tableau showing the Pilgrims planting the first 
corn. The Indians showed them how. Massasoit, Squanto, Can- 
onicus, etc. — study their pictures for costume effects. 

Scene II : Tableau showing the simple home life of the Pil- 
grims in early New England. Kitchen, spinning wheel, etc. 
John Alden, Miles Standish, Priscilla, etc. 

Scene III: Tableau of a simple religious meeting in the 
meetinghouse. The minister is in the pulpit, and the congrega- 
tion sits quietly with bowed heads. Or the well-known ''Going 
to Church," that can be found in almost any United States his- 
tory, may be used. 

Scene IV: Tableau of the first legislative assembly. An 
old town meeting is good material. Or the signing of the May- 
flower Compact is especially effective. Pictures of it may be 
found in many U. S. histories. If this is used, it might be well 
to place it first in this series of tableaux. John Carver, William 
Brewster, William Bradford, Edward Winslow, Miles Standish, 
and others should be individualized. 

Scene V : Tableau of a New England school. New England 
Primer was used. Meetinghouses were the schoolhouses ; split 
logs were used for seats. Discipline was rigid. 

The doughty herald declares that this same love and regard 
for the soil, for the home, for the church, for the state, and for 
the school have been carried by the virile Anglo-Saxon spirit 
into the far West where they are as inviolate today as they were 
when the Pilgrims landed at Plymouth, Massachusetts, in 1620. 

Prologue. 

Tableau : The coming of the pioneers into Salt Lake valley, 
July 24, 1847. ''This is the place/' Orson Pratt, Erastus Snow, 
Brigham Young, and others may be individualized. 

Song : * ' Come, Come, Ye Saints ! ' ' — William Clayton. Au- 
dience joins in the singing. 

Episode 11-* 

Scene I : Tableau showing the planting of the first potatoes 
in Utah. Irrigation. Western Indians. (Note: Western In- 
dians did not dress in the same style as did the Indians of New 
England.) Or a first planting in your own community may bo 



•Costumes, properties and stage materials should be the originals as nearly 
as possible. Each school and each community should leave no stone unturned to 
secure everything possible in the way of pioneer material. Nothing will be bet- 
ter to arouse community interest and to make the celebration a really community 
matter. 



23 



used, in which case use the local pioneers who are still living. 
If they are not, nse their descendants. Perhaps you can secure 
their old costumes of that time. 

Scene II : Tahleau showing the simple home life of co-oper- 
ation and self-sacrifice among the early IJtah pioneers. Or pres- 
ent a scene from the early home life of the first pioneer in your 
own community, in which case use actual materials and the pio- 
neers themselves if they are still living. If they are not, use 
their descendents. 

Scene III: Tableau showing some typical religious service 
in Utah pioneer life. A notable ward meeting may also be used. 

Scene IV : Tableau showing the first legislative meeting in 
Utah, Or present the first legislative meeting in our own com- 
munity. Use the original delegates if they are still living. 

Scene V: Tableau showing the first school in Utah. The 
first school in Utah was organized and conducted by Mary Jane 
Dilworth in a small military tent placed in Pioneer Square in 
Salt Lake City. It was opened on October 19, 1847, less than 
three months after the arrival of the pioneers in the valley. 
Logs were used for seats ; a rude fireplace heated the tent. Lind- 
ley^s Reader was used. Smooth white bark was used as paper. 
(See Improvement Era, July, 1920, p. 781, for an account of the 
work of Mary Jane Dilworth. Her photograph is the prontis- 
piece. ) 

Or present the first school, with its teacher and its pupils 
if possible, of your own community. 

Epilogue. 

The doughty herald appears once more. There is a pro- 
cession of Pilgrims (perhaps some descendents of the early Pil- 
grim Fathers live in your community. If so, use them) ; then 
follow Agriculture, the Home, the Church, the State, and the 
School in symbolical figures. 

The herald declares that those institutions given to us as 
a heritage by our Pilgrim Fathers are a priceless possession, 
and that only in so far as we cherish and hold them sacred will 
America continue to be the land of liberty. 

Led by the herald, the audience joins in singing "America" 
as a large silk American flag is unfurled before them. 



A Pilgrim Pageant 

BY 

VICTOR E. WILLIAMS 

OF THE 
EMERY COUNTY HIGH SCHOOL, HUNTINGTON, UTAH 




Written as a part of the requirement of the work in the Course 
in Pageantry and Pageant Writing, conducted by the 
Department of English, Summer Quarter, 1920, 
in the University of Utah, 



A PILGRIM PAGEANT 

A Pageant in Honor of the Third ('entonnial Anniversary of 

the Jjanding of the Pilgrims. 

THEME 

Tlie Pilgrim ideal of fair play, derived from Anglo-Nor- 
man sources, has become a leading ideal of the great American 
nation. 

PltOLOGUE 

(As the usual front curtain rises, it discloses a hoi/ and a 
girl {from any toion in Utah) before a second curtain of Lincoln 
green, which will open from the center. The hoy wears a formal 
black Eton jacket, knickerbockers, black stockings, and patent- 
leather pumps. His tvhite starched collar is of that conventional 
kind which extends down over the collar of the jacket. The girl 
ivears a high-waisted pink frock, ivith quarter sleeves, slightly 
puffed at the shoulders, and loiv neck. Her stockings and shoes 
are ivhite. The two are comfortably seated in large chairs at op- 
])osite sides of the stage, partly facing each other and partly fac- 
ing the audience.) 

The Boy {disputatiously) : 

Yes, but why do we liave to celebrate the Landing of the 
Pilgrims, even if it teas just three hundred years ago? 

The Girl: 

Stupid! Can't you see? 

(She rises and declaims with spirit:) 

' ' THE LANDING OF THE PH.GRBIS. ' ' 

^ ' The breaking waves dashed high 

On a stern and rock-bound coast, 
And the woods, against a stormy sky, 

Their giant branches tossed : 

And the heavy night liung dark 

The hills and water o'er, 
When a band of exiles moored their bark 

On the wild New England shore. 

Not as the conqueror comes, 

They, the true-hearted, came. 
Not with the roll of the stirring drums, 
„ And the trumpet that sings of fame; 



27 

Not as the flying come, 
r In silence and in fear, — 

They shook the depths of the desert's gloom. 
With their hymns of lofty cheer. 

Amidst the storm they sang, 

And the stars heard and the sea ! 
And the sounding aisles of the dim woods rang 

To the anthem of the free. 

The ocean-eagle soared 

From his nest by the white wave 's foam, 
And the rocking pines of the forest roared — 

This was their welcome home! 

There were men with hoary hair, 

Amidst that pilgrim-band — 
Why had they come to wither there 

Away from their childhood's land? 

There was woman's fearless eye, 

Lit by her deep love's truth; 
There was manhood's brow serenely high,' 

And the fiery heart of youth. 

What sought they thus afar ? 

Bright jewels of the mine? 
The wealth of seas, the spoils of war?- 

They sought a faith's pure shrine! 

Aye, call it holy ground, 

The soil where first they trod! 
They have left unstained what there they found — 

Freedom to worship God!" 

— Dorothy Felicia Hemans 

{The hoy pretends to sleep during the recitation.) 

What an awful boy you are! 

{The boy continues to sleep. The girl sits down again, and 
goes into a deep study. After a moment, the Spirit of History 
enters through the curtain at the center. She is a well-propor-, 
tioned and dignified tvoman in classic Greek dress of white satin. 
The children, aroused, gaze at her in ivonderment.) 

The Girl: 

Oh, what a lovely dress! 

The Boy {after a pause) : 
Who are vou! 



28 

The Spirit of Histokv : 

1 am the Spirit of History. When a boy asks why we should 
observe old customs and anniversaries, I generally manae:e to 
come on the scene. 

The Boy : 

Well then, why arr we celebrating the Three TTundrf»dth 
Anniversary of the Landing of the Pilgrims? 

The Spirit of History: 

That is a long, long story. 

The Girl {enthusiasticallt/) : 
Tell ns! Tell ns! 

The Spirit of History : 

I will shoiv you the story. And first you shall see how the 
spirit of justice and fair play began to drive out the cruelty 
and superstition of the Middle Ages. We are going to visit the 
village of Haworth in old England in the year one thousand, 
long before the Pilgrims or their tercentenary were ever dreamed 
of. Follow me and you shall see. {She leads the hoy and the 
girl off through the curtain at the center.) 

EPISODE I. 

The Anglo-Saxons sought fair play for the accused. 

{The curtain opens oit a green mvard with a knoll near the 
center. Upon the knoll stands a, canopied chair. At the left is a 
crudely made gallows, a pole laid in the fork of tivo trees. The 
noose hangs from the pole, over a pit. Between the chair and 
the gallows a fire burns. A huge black pot on a tripod is steaming 
on the fire; and irons of various shapes, some resembling the 
early three-cornered plowshares, are heating beneath the pot. 

Gurth, a greybeard of evil aspect, is tending the fire with 
solicitous care. He ivears a, close-fitting tunic of coarse, dull 
black woolen material. The lower edge is ornamented with a 
square shaped design in gray. Over the tunic, he wears a short 
cloak of gray, fastened with a brooch at the right shoulder. His 
tight breeches reach to the middle of his calves. Above the short 
brown leather stockings, his legs are bandaged in black. His 
shoes are long, black, and pointed. His hat is in the Phrygian 
style. His long, tvhite hair is gathered in locks behind his ears. 
He speaks harshly and gutturally.) 

Gurth : 

Arrgh! The blessed hot fire and the scalding pot! It is 
gratifying to an old man's eyes to see some robust young free- 
holder plunge his riglit arm perforce into the searing cauldron. 



29 

[Hi nibs his hands gleefully.) Ah, tlieii his face will bloiich ! 
Then will his j^uilt crj^ aloud ! Curses on these modern days, 
when trial by the ordeal is brought into question, forsooth, and 
oaths of witnesses are allowed to stand. Make the accused one 
prove his innocence by fire, say T. l^et liiin stand the fire \vitb- 
out wincing, if he can. {He warms his hands at the fire.) Divine 
fire ! Thou shalt not be abandoned as a means of securing jus- 
tice while yet the counsel of the old men is held of worth. {He 
rubs his knees, 'with an old man's scret craving for warmth." 
{The Hundred-Elder* enters, followed by the hundred-moot.* 
He seats himself in the chair. His costume resembles that of 
Gurth in general design; but the material is finer and the colors 
brighter. Over his tunic he wears a jacket of chain-armor. A 
long mantle of rich purple hangs over his left shoulder. The 
others are dressed similarly, but without the mantle, in varie- 
gated colors. Some, carrying short swords, escort a bound pris- 
oner, hatless and disheveled, whom they threaten and hustle 
maliciously toward Gurth and the fire. The prisoner resists des- 
perately any movement in that direction. Gurth, the master of 
the ordeals, glares at him malevolently. The hundred-moot .sit 
on the grass in a semi-circle before the chair. There is a buss of 
conversation, which the Hundred-Elder interrupts.) 

The Hundred-Elder : 

Men of Ha worth! Are all here? 

One of the Hundred-Moot : 

Aye, from every manor there is a spokesman. 

The Hundred-Elder: 

Grand jury of freeholderst arise and take oath to render 
the truth. {About twenty men stand up and solemnly raise their 
right hands.) 

The Hundred-Elder: 

Do ye now swear to indict truthfully whomsoever ye deal 
with this day, so help ye Godf 

The Jury : 

Aye, that we do, so help us God. {They sit.) 

The Hundred-Elder: 

What man accuses this prisoner, Cedric of Malmsby? 

John of Leith {ri.sing) : 

Sire, this Cedric wilfully and maliciously set fire to my hay- 
ricks by night, with purpose of revenge — 



•The hundred-moot was the meeting^ of the hundred, or village. Its presid- 
ing officer was tlie hundred-elder. Each manor in the hundred was represented 
in the hundred-moot. See Traill's "Soflai Kneland." 

tThis was the begrinninp of our jury-system. 



30 

The Hundred-Elder: 

Stop! What has the juiy to say to this accusatiou? {John 
of Leith sits.) 

The Spokesman of the Jury : 

We have indicted the prisoner for this offense. 

The Hundred-Elder: 

Cedric of Malmsby, you are indicted for burning the hay- 
ricks of John of Leith. Do you confess your guilt? 

Cedric : 

Sire, I am not guilty of this offense. 

The Hundred-Elder: 

Will you then, to prove your innocence, undergo the trial of 
fire, and plunge your arm into the boiling pot yonder without 
wincing or uttering cry? {Gurth is all ears, and the guards harry 
Cedric. ) 

Or can you prove by the testimony of law-worthy men that 
you did not do this act of arson? 

Gurth (muttering) : 

Testimony! Such crazy new-fangled notions! {Aloud) I 
say put him to the fire. The hot fire will refine out the truth. 
Arrgh ! 

The Hundred-Elder: 

Thou old Gurth ; keep thy place. Thy ancient cruelties will 
not forever be tolerated. {To Cedric) Make your choice. 

Cedric : 

Sire, I will have witnesses. 
{Gurth wrings his hands.) 

The Hundred-Elder: 

Call them forth. 
Cedric : 

Henry of Stanton. {Henry rises from the turf.) 

The Hundred-Elder: 

A law-worthy freeholder. Say ye not so? {There is a mur- 
mur of assent.) 

Speak your testimony. 

Henry : 

On the night of the fire at John of Leith 's, Cedric was with 
me at Stanton manor, where we held carouse for the harvest. 
Not till dawn did we leave the hall of f eating. {He sits down.) 

Cedric : 

James of Eaton. {James rises.) 



31 

The Hundred-Elder: 

A law-wortliy man. {As before, there is a murmur of as- 
sent.) 

Say on. 

James : 

While the hay-ricks burned, Cedric was two leagues away 
at Stanton manor-house, where we drank honey-mead to the rich 
harvest. 

The Hundred-Elder: 

Enough. The man is innocent. Set him free. {The guards 
release Cedric.) 

John of Leith ,see that you again accuse no one wrongfully. 

{Cedric's friends shake hands with him in congratukition. 
The Hundred-Elder and the hundred-moot move sloioly off, leav- 
ing Gurth behind. In impotent rage, he shakes his fist at the 
Hundred-Elder. He crouches before the fire and spreads out his 
hands to the warmth. The fire begins to wane. The curtain 
closes to the center.) 

INTERLUDE I 

{Eight girls enter, four from the right and four from the 
left, and meet at the center. They wear long gowns of various 
bright colors, and above the goivns tunics, also in bright colors, 
h,aving wide, half-length sleeves. They are bare-headed. Their 
hair is short and in curls. They wear much jeivelry.* They sing 
in unison, after the old manner, the song, '^Summer Is A-coming 
In," printed witJi the music on page 142 of "Pageants and 
Pageantry," by Bates and Orr.f Afterwards they dance any 
square dance of antique flavor. They go off, four to the rigid 
and four to the left. 

The Spirit of History, the boy, and the girl step out through 
the curtain. ) 

The Girl {shuddering) : 

Ugh! That old fire-tender, Gurth! He's Avicked! He's 
brutal ! 

The Boy : 

But did they ever make anybodj^ put his hand into the pot? 

The Spirit op History : 

Indeed; and handle red-hot iron, to prove his innocence. 
That is bigotry and superstition. The spirit of fair play moved 



•This was the usual costume of the Anglo-Saxon women of the time of 
^Episode I. 

fPublished by Ginn and Company, Boston, 1912. 



32 

the An,i>lo-Saxoiis to fi.i^ht the cruel superstitions of their fore- 
fathers. They were tlie first to use the jury system. 

The Gikl: 

But what has that to <1(> with the Landiuo- of the Pilgrims? 

The HeniiT of History : 

The Pilgrims received tliis very ideal of fair play from their 
Auglo-Saxon ancestors, ami h^arned by their hard experiences 
to treasure it even more than did the other people of England. 
To secure fair play for themselves, they were forced to leave 
their homes and finally to sail for America. 

The Girl: 

I know. They sailed on the Mayflower. 

The Bov {eiithusia^ticalltj) : 

The leader of their fighting- men was Cay^tain Miles 
Standish ! 

The Spirit ok History : 

You are both right. But let us now see whether the Pil- 
grims, after their hard experience of injustice, were willing to 
play fair with the Indians wliom they found in America. Come. 
{She leads the boy and the girl off thtough the eiirtain.) 

{An Indian Medicine man enters, from the right, and sings 
an Ind.ian song of lively tempo. He wears a great deal of orna- 
ment, beads, strands of bears' claws, and crow feathers stand- 
ing up straight at the back of his head. His arms are bare. He 
icears brown leather breeches, fringed at the bottom, and brown 
leather moccasins.* He goes off -to the left.) 

EPISODE 11. 

The Pilgrims extended the ideal of fair play to the Indians. 

{The curtain opens from the center, disclosing a colonial 
interior. A bright red rug is spread on the floor, and several 
green cushions are arranged around it. In a large brick fire- 
place a log fire is burning. Several Pilgrims, in the usual Puri- 
tan costume, enter from the right. They are unarmed.) 

First Pilgrim : 

A notable day this for Plymouth Plantation. 

Second Pilgrim : 

It will be an end to ceaseless quarrels and savage battles 
that settle nothing. With fairness and open dealing, even the 
Indians can be conciliated. 



*A veteran of the Indian Wars can be secured to play this part in most Utah 
towns. Note that the costume described is not that of the ITtes. or any Western 
tribe, but of the Massachusetts' tribes. 



33 

FiRKT Pilgrim : 

Our worthy governor deserves praise. 

(Enter Massasoit, Quadequina, and several braves, at the 
right. Massasoit is grave of countenanee and spare of speech. 
His face is painted a dark red, and oiled. He ivears a neck-chain 
(/f white bone beads, some long croiv feathers standing straight 
up at the back of his h,ead, buff leather breeches and moccasins, 
and a bright blanket. He is carrying a copper chain with a gaudy 
jewel, and two knives, gifts from the English. Quadequina is 
not so striking in appearance. He carries a, new knife and wears 
an ear-jeivel. He is slightly intoxicated. The braves are bare- 
headed and are painted black, blue, red and gray.) 
Massasoit : 

Hail, Englishmen ! Welcome ! 

First Pilgrim : 

Greetings and welcome to the great chief Massasoit and to 
<^)uadeqiiina! 

(Quadequina (jovially) : 

Heap good fire-water. Make 'um strong. Ha! white man 
very wise. Make big gift. (All seat themselves gravely on the 
led rug.) 
Massasoit : 

Fire-water very bad gift. Deceived much. 

(A drum and trumpet sound off stage at the left. The 
Governor and some unarmed soldiers enter from the left. All 
stand up. The Governor shakes hands with Massasoit and Quade- 
(/ulna in a very dignified manner.) 
The Governor: 

The fame of the great cliief, Massasoit, goes before him. 
And of his friend Quadequina. 

Massasoit: 

I have heard much good of white governor at Plymouth. He 
speaks truth. 

(All seat themselves in a circle on the rug, the Governor 
and his men opposite Massasoit and his braves. Several Puritan 
ivomen, dressed in conventional sombre Puritan garb, enter at 
the left, bringing biscuits, Imtter, and a bowl of rum. These they 
pass around the circle. The Indians grunt their satisfaction. 
A.fter a time, Massasoit produces a pouch of tobacco and a 
calumet. He fills and lights the calumet, and each one in the 
circle in turn takes a draw at it.) 

Massasoit : 

Englishmen, we like your presents. We keep your envoy, 



34 

AVinslow, across the creek, lie makes us safe. We want make 
strong peace with white men of Phanouth. 

The Governor: 

We are very glad. For our great King James, we v/ill 
make a strong, binding peace with you and your friends and 
allies. I will read it. {He reads very distinctly. The Indians 
listen very gravely. ) 

** Chief Massasoit and the loyal subjects of King Jamos at 
Plymouth agree : 

** First, that neither he nor either of his shall injure or do 
hurt to any of our peo^jle. 

"Second, that if any of his do any hurt to any of ours, he 
shall send the offender, that Ave may punish him. 

''Third, that if anything be taken away from any of ours, 
he shall do the like to him. 

"Fourth, that if any do unjustly war against him, we will 
aid him ; if any do war against us, he shall aid us. 

"Fifth, that he shall send to his neighbors confederates to 
certify them of this, that they may not wrong us, but may be 
likewise comprised in the conditions of peace. 

"Sixth, that when his men come to us, they shall leave their 
bows and arrows behind them, as we shall do with our pieces 
when we come to them. ' ' 

Massasoit {after a moment of dignified silence) : 
It is agreed. I have spoken. 

{The other Indians grunt their approval; the calumet is 
smoked again, as before; and the curtain closes.) 

INTERLUDE II 

{Enter the Spirit of History, the l)oy, and the girl, thro.iqlt 
the curtain. 

The Boy : 

Why, that was like a little League of Nations, wasn't it? 

The Spirit of History : 

Yes, and since there w^as a spirit of fair play and helpfulness 
on both sides, the little league endured a long while. 

The Girl: 

Once I saw a picture of an Indian named Squanto showing 
the Pilgrims how^ to grow^ Indian corn. 

The Spirit op History : 

Squanto was the friend and all of Massasoit. He liked the 
Pilgrims because they did not use trickery and fraud; and he 
helped them a great deal with their agriculture. But we must 



35 

hurry on our way to the time when the colonies of England had 
to fight for fair play for themselves. {The Spirit of History 
steps off through the curtain, and the hoy and girl follow her. 
A fife and drum corps of four or five players enter from the 
left playing lively music of colonial times, as ''Drops of 
Brandy," for instance, to he found in Schirmer's collection of 
old contra dance music. FoUoiuing them, couples in colonial 
attire enter and dance various square dances of the time. The 
men hoiv and the woynen curtesy to the audience at the end. They 
go off to the right and left.) 

EPISODE III 

The English colonies fought for fair play for themselves. 

{The curtain opens, revealing a wharf at Boston Harhor. 
The front part of a sailing ship, alongside the wharf, reaches 
halfivay across the stage, the prow pointing left. A luoman 
dressed in colonial attire of 1773, enters from the left and meets 
tivo ivomen entering from the right, similarly dressed.) 
First Woman : 

Patience Bradley and Mary Strong! Haven't you been to 
the meeting at the South Church ? 

Patience : 

I wanted to go, but I had bread in the oven. Do tell us 
what was done. 
Mary : 

I'm all impatience. Let us know everything. 
FiR»sT Woman {with unction) : 

Well, you see, our colony will not have the tea with a stamp 
tax on it, and King George says that we shall have it, and so 
there is a great to-do. And our men have demanded that the 
tea-ships be taken out of the harbor, but the others will not have 
it so. 

{Enter other citizens, all dressed in colonial costumes, from 
the left, men and women. They are indignant.) 

A Man : 

We want no tea with a stamp tax. Let them sell it as cheap 
as they will. As long as it is taxed, they may let it rot in the 
holds. We pay no revenue without our consent. 
Another : 

They must take the tea-ships out of the harbor. That was 
the will of the meeting. We had no voice in levying the tax. 

A Third : 

They have even now refused point blank to take the ships 
out of the harbor. 



36 

j\ FouuTii {pcssiniLstically) : 

But what is tlio use of a41 this hubbub of protests! They 
are vain, useless. The King will leave his ships here, or sell 
the tea elsewhere and bide his time. And time is a strong foe. 

Patience : 

But what shall we do for tea? 

A Fifth Max {knowingly) : 

There be ways that you know not of. Only wait. {They 
hey in to move off staye.) 

{The liyhts yrow dim, to indicate eveniny. A yroup of citi- 
zens, disyiiised as Mohawk Indians rushes on, from the left, 
swinyiny tomahawks and utteriny weird war hoops. .Some of 
thew clamber on the vessel on the staye, with wild whoops. 
Others yo off, right. Those on the ship carry up boxes of tea and 
break them open with their tomahawks. They pour the tea over 
the prow of the vessel and throw the boxes after it. These 
.splash as they strike the water behind the wharf. .Other citizens, 
carryinff lanierns rush on from both sides, in yreat excitement.) 

A Woman : 

The tea ! Tliey are throwing it into the harbor ! 

A Man {drawliny in a deep bass voice) : 

This is Boston's little Tea Party. Yes, there certainly are 
ways of getting fair play. 

Another {shouting) : 

No taxation without representation ! 

{The croivd cheers ivildly. The curtain closes as the shout- 
ing, "No Taxation without Representation,'' continues.) 

INTERLUDE 111 

{The cheeriny behind the curtain me ryes into the sound of 
a fife and drum corps playiny "Yankee Doodle." The .sownd 
increases, until the corps in military uniform of the Revolution 
marches across the staye, riyht to left makiny the famous tableau 
of "The Spirit of Seventy-six."* Enter tlirouyh the curtain the 
Spirit of History, the boy and the yirl.) 

The Boy : 

That was a good scene. King Geoi-ge couldn't play any un- 
fair tricks on the colonists, could he? 

The Girl: 

But only think of all that tea dumped into the salty water, 
and wasted. 



♦A picture of "The Spiiit of Seventy-six" may be found in almost any good 
history of the tJnited States. 






The Boy {impatiently) : 

Oh, what's a shipload of tea by the si(h' of getting' a square 
deal? 

The Spirit of History : 

To win fair pla}^ for the colonists, blood had to be shed at 
last, — a great deal of it. But when, after a long war, the colonies 
had won the great prize, and had become the independent United 
States of America, let us see how willing they were to share the 
ideal of justice and fair play with others less fortunate than 
themselves. We are going to visit President Lincoln's cabinet 
meeting in September in the year 1862. {They yo out throuyh 
the center.) 

EPISODE IV 

The Emancipation proclamation secured fair play for the 
negroes. 

{The scene opens on a diynified room, ivith a solid table 
and several larye arm chairs. Seated around the table are 
President Lincoln and his cabinet, Seivard, Welles,' Stanton^ 
Smith, Blair, and Bates. All ivear black suits with long coats. 
They wear black boiv ties. .Welles, Stanton, and Bates wear 
beards. Lincoln has been reading the chapter, "High-handed 
Outrage at Utica," from, Artenias Ward. All are laughing 
heartily except Stanton, whose dignity and religious sentiments 
will not permit it.) 

Blair : 

That is a good one. Ha ! Ha ! Ha ! This Artemas Ward is 
a clever young fellow. 

Lincoln : 

I like Artemas. He can give me a good laugh even if nothing 
else. 

Seward : 

And a good laugh is a rare and precious thing in these trying 
times. 

Stanton {with hauteur) : 

I think this is hardly the occasion for mirth. {There is an 
awkward pause.) 

JjINcoln {He rises to speak. Soberly) : 

Since I first broached the subject of Emancipation to you 
in July, I have reflected a great deal on this question. As the 
Scriptures say, '^A house (livided against itself cannot stand." 
I do not believe that this nation can permanently endui'e half 
slave and half free. Lee has now been driven out of Maryland, 



38 

iuid I am going to fulfill the promise I long ago made to myself 
and to my Maker to set the slaves free if I should ever get the 
chance. I have got you together to hear what I have written 
do\m to effect this end. I do not wish your advice about the 
main matter ; for that I have determined for myself. He reads : 
**0n January first, in the year of our Lord eighteen hundred 
sixty- three, all persons held as slaves within any State or desig- 
nated part of a State, the people whereof shall be in rebellion 
against the United States, sliall be then, thence-forward, and 
forever free." 

(The Cabinet listen to the readi)i(/ with rapt attention, and 
at the end nod their heads in approval. The curtain closes. 

A chorus behind the stage begins to sing ''The Battle Hymn 
of the Republic." The audience joins in the singing. 

A fife and drum corps, behind the scenes, strikes up "The 
Girl I Left Behind Me." After a> moment they appear through 
the curtain at the centre, and march in spirited military decorum 
back and forth before the audience.*) 

INTERLUDE IV 

{Enter the Spirit of History, the boy and the girl, through 
the curtain.) 

The Girl: 

Did that little Proclamation free all tlie slaves? 

The Spirit of History : 

To put the Proclamation into effect, a long and blood}' war 
had to be fought. Afterwards the freedom of all tlie negroes 
was guaranteed by a constitutional amendment. 

The Girl: 

It wasn't very easy that time to get fair play. 

The Boy (enthusiastically) : 

I should say not. Say, they fought like tigers. My grand- 
father told me. Once at Chickamauga Creek they piled dead 
bodies of soldiers in front of them to stop the bullets. They 
were dead men lying about everywhere. And the blood — why the 
])lood — 

The Girl [She holds her ears) : 
Oh! Oh! stop!!! 

The Spirit of History : 

The things that are worth most have often cost a very hard 
struggle. Justice for Cuba, in 1898, was worth a great deal, and 



*If there are any G. A. R. men present, they should be brought to the stage 
at this point, placed in the procession and given an ovation. 



39 

it cost a great deal. The very ideal of Justice and fair play 
that the Pilgrims brought with them led our boys in blue to sail 
a\vr*y to Cuba with Theodore Roosevelt. 

But let us witness one more scene. We must go to visit 
the Senate Chamber of the United States on April 2, 1918, and 
listen to President Wilson's war message to congress. {They 
pass off throiirjh the center of the curtain.)*' 

EPISODE V 

The United States fought in the World War to secure fair 
play for all nations, large and small. 

(The curtain opens on the Rostrum of the United States 
Senate, facing the audience. It is draped tuith national flags and 
bunting. President Wilson is reading his famous ivar address.) 

President Wilson : 

' ' The present German submarine warfare against commerce 
is a warfare against mankind. It is a war against all nations. 
American ships have been sunk, American lives taken, in ways 
it has stirred us deeply to learn of, but the ships and people of 
other and friendly nations have been sunk and overwhelmed in 
the waters in the same way. There has been no discrimination. 
The challenge is to all mankind. 

Each nation must decide for itself how it will meet it. There 
is one choice we cannot make, we are incapable of making. We 
will not choose the path of submission and suffer the most 
sacred rights of our nation and our people to be ignored or 
violated. 

The wrongs against which we now array ourselves are no 
coEcmon wrongs ; they cut to the very roots of human life. The 
world must be made safe for democracy. Its peace must be 
planted upon the tested foundations of political liberty. 

We have no selfish ends to serve. We desire no conquest, 
no dominion. We seek no indemnities for ourselves, no material 
compensation for the sacrifices we shall freely make. We are 
but one of the champions of the rights of mankind. We shall be 
satisfied when those rights have been made as secure as the 
faith and the freedom of nations can make them." {The curtain 
closes.) 

{Through the centre of the curtain tivo trumpeters or 
buglers, in smart regulation U. S. military uniform., appear. 
With spirit they sound ''assembly." There is a sound of mul- 
titudes of marching feet, and as the curtain opens, these pass, in 

•If there are any Spanish-American War veterans in the audience, at this 
point they should be brought to the stage and marched back and forth while all 
sing, "There'll be a Hot Time in the Old Town Tonight." The audience should 
join in the singing, and should give them an ovation. 



40 

precise military procession, licaded hi/ a hcdutiful Auierican flati 
floating to the breeze, column upon column of men in khaki, Red 
Cross nurses, and representatives of every other branch of ser- 
vice in the World War. With heads erect and shoidders squared, 
with the glint of patriotic fervor in every eye, the entire con- 
course {audience joining in) ivells into a mighty procession as 
it throws itself full tilt into singing "Over There.'' The curtain 
closes upon the marching columns as the sound of marching feet 
and of the singing die away in the distance.)* 

EPILOGUE 

{Enter the Spirit of History, the boy and the girl, at centre. 
All are patriotically enthusiastic.) 

The Spirit of History : 

It was a ]on<»-, lon<^ story, wasn't it? 
The Girl: 

Yes, but isn't it a beautiful storv ! It shows us liov^ the 
spirit of fair play of the Anglo-Saxons and the Pilgrims has come 
down to us at the present time. 
The Boy : 

I know now why we should observe the three hundredth 
anniversary of the landing of the Pilgrims at Plymouth Rock in 
1620. I wouldn't have missed this for anything. Every time that 
I think of the spirit of fair play I shall remember the Anglo- 
Saxons and the Puritans for what they have done for us. 

{The Spirit of History has retreated unoticed through the 
centre of the curtain as they talk. When they notice that she has 
gone they turn quickly toward the centre of the curtain just as it 
opens — and there before them floats on the breeze a large beau- 
tiful, silk American flag. All rise to their feet and stand at salute. 

As the notes of a bugle sound "assembly," the boy and the 
girl click their heels together and coming to "salute,'^ fervently 
repeat the pledge to the flag.) 

"I pledge allegiance to my flag and to the country for 
which it stands, one nation indivisible, with libertv and justice 
for all." 

As the notes of "America" are struck, the entire assemblage 
joins in singing the national anthem. Curtain. 



•AU service men and women, of whatever branch who live in the eommunit>- 
should participate in this procession. The audience should accord them an ovation. 



A Pilgrim Pageant 

BY 

ETHEL M. CONNELLY 

OF THE 
WEST SIDE HIGH SCHOOL. SALT LAKE CITY 

This Pageant is a Portrayal of Anglo-ScLxon Fortitude 
in Fighting for the Common Weal 




Written as a part of the requirement of the work in the Course 
in Pageantry and Pageant Writing, conducted by the 
Department of English, Summer Quarter, 1920, 
in the University of Utah. 



A PILGRIM PAGEANT 

This Pageant is a Portrayal of Anglo-Saxon Fortitude in Fighting 

For the Common Weal. 



SCENE. 



{We see before us the great outdoors, the scene of the Anglo- 
Saxon struggle for the common tveal. It stretches from the wilds 
of western Europe in the dawning centuries of our era to the 
-western boundaries of Afnerica in the present day. Our imagina- 
tion must set the scene for each successive struggle. For the phys- 
ical eye a feiv trees and bits of shrubbery in the rear, and a great 
rock in the foreground just to the left of the center, will serve 
all purposes of staging. If the pageant is produced on an in- 
door stage appropriate settings may be used for each scene. The 
Saxons appear in front of the curtain in the prologue, and in 
interludes betiveen the episodes.) 

PROLOGUE 

Saxon, England, 9tli Century. 

{There is a confused noise in the distance, and then there 
troop in from the left, ivith rough shouts of rejoicing, and the 
barking of dogs, a doughty band of blond Saxons. They are 
dressed in tunics of broivn and unbleached linen with bright bor- 
ders, long cross-gartered stockings, black pointed shoes, drink - 
horns attached to leather thongs, and carry luooden shields and 
long spears.'^ One or tivo ivear shirts of mail. Two figures 
stand out from all the others, the aetheling, and the scop. The 
former is a strong, kindly looking man of middle age, with yel- 
lowish white flowing hair and beard, dressed in a green embroid- 
ered tunic, over tvhich he tvears a shirt of chain mail, red stock- 
ings cross-gartered in yelloiv, a blue Phrygian cap, and blue cloak 
banded in gold.i 

The latter is young, his hair is cropped close, and his face 
is beardless. He wears a gorgeous short purple cloak embroid- 
ered in gold and blue, and lined ivith fur, under which he wears 
a bright red tunic, and red stockings cross-gartered in yellow. 
He carries a rude harp which he clasps with loving care. 

There is a moment of boisterous confusion while they pile 
their shields and iveagons against the rock, build a fire and take 



•For descriptions of Saxon dress see "Social c:iieland." edited bv H. D Trail! 
(>. P. Piitinan Sons, New York. 1901, Vol. I, pp. .312 316; "British Costnme DMrin;; 
Nineteen Centuries, Mrs. C. H. Ashdown, Frederick A. Stokes Co.. New York 
Chap. II, p. 6; "Drea« Desisn," Talbot Hughes. John Hogg, London, 1913, pp. 4»-56. 

flllustration in "British Costiinies During Nineteen Centuries," page 9. 



43 



lo7ig draughts from their great drinking horns. Then they throw 
themselves doivn around the fire, the aetheling with his hack 
against the rock.) 

^THELING : 

Thanes, we've gone swiftly and far today. We'll rest an 
hour while Heorrenda sings. Tell us, Scop, how our fathers 
fought, for we go to meet the descendant of proud Cerdic, who 
would add our little corner of this island to the kingdom of the 
West Saxon. Are my thanes still ready to follow me into Wes- 
sex? 

Thanes : 

We are ready, my lord. 

jEtheling : 

Good! My fathers for seven generations led this people. 
Come, thy song, Scop. 

{The Scop, who has been tuning his harp and running his 
fingers over its strings, plays a short prelude, then chamts his 
story with dignified rhythm, accompanying it by a note or two 
here and there, or a running cadence at the end of the theme.) 

Scop (Sings in a virile chant-like manner the alliterative and 
balanced lines of Anglo-Saxon.) 



Dearest my lord. 

Host of my heart 

God did appoint thee 

Hail to thee. 

Famed in battle, 

Never weary of wand 'ring 

Soul of the Saxon, 

Burns in thy bosom. 

Thou mind'st me of BeoAvulf, 

Beowulf, who bade 

Brave hero leader. 

Of ** noble monarch 

Hrothgar sorrowful, 

With willing warriors 

' ' Bold and battle-grim. 

Smote Grendel 

Severed his head, 

So that Hrothgar 's eorls 

Safe they could sleep. 



liege of my life, 

thou hast harbored me well. 

people-protector. 

thy hero-hand, hail! 

fearlessly faring, 

for weal of the people. 

strong in thy sires, 

king best beloved. 

master of meadhall, 

in the burg of the Scyldings,^ 

he heard a tale 

who needed men,"t 

that Grendel harried, 

he wended his way, 

brandished the sword, ' '$ 

with savage sword, 

that fiend of hell, 

no evil feared; 

the soldier band. 



•Beowulf, 1. 53 in "The Oldest KnsUsb Epic," Translated b> Francis B. 
Gummere, The MacMlllan Company, New York, 1909. 
tibid. line 201. 
JIbid, line 1564. 



44 

For Beowulf the bold their freedom liad bouglit. 

Tliou art descended from sires sovran, 

Bold hero warriors, wielding war, 

Thou shalt get sons that are sturdy am! steadfast 

Sword-grim in battle, shattering shields, 

Saving the liall-t'olk 'gainst fiendish foe. 

(Fired hy his theme the Scop seems to become seer as ivell 
as singer. As he sinr/s he points off into the future ivhere hei 
seems to see the fortitude of his race preserved in their descend- 
ants. In the midst of his song a commotion is heard, and Wulf 
breathless and debraggled enters between two guards.) 

^Etheling : 

Speak! Whence come ye? 

Wulf : 

From thy neighbor; his henchman am I. He comes with 
other eorls on their way to hold council with the son of Cerdic. 
He begs thee join them to take counsel how they shall overcome 
the Dane. 

Thanes {leapiiu/ for their spears) : 
The Dane ! " 

^THELiNG {in scor)i) : 

I hold council Mdth tlie King of Wessex, my foe! 

Wulf : 

My lord, the Dane is already in the land. If we would con- 
quer him we must band together with the son of Cerdic at our 
head! Scop, what thinkest thou of the coward knaves f 

Scop {humhly) : 

Forgiveness, my dear lord, but is it not better to fight under 
Cerdic 's son than be con( [uered by the Dane ? But pardon, dear 
lord, tlie thanes will speak. 

^Etheling {his face shadoived tvith anger) : 

Speak, thanes ! Cowards and Scops would know your will. 
{As he glares about the circle there is momentary silence. Then 
an old warrior speaks.) 
Old Warrior : 

Tliou hast led us, my lord, for many a year, but the lives of 
our women, our children, our old men are at stake. Tlie life 
of the Saxon is at stake. We must to the council. Whatever 
leader is chosen, him must we follow. 

^theling {drawing himself up to his fullest kingly dignity) : 
Thanes, vour will. 

TiiANEs {raising their right arms) : 
The council. We have spoken. 



45 



{For a moment the aetheling ivould defy the thanes. Then 
he hoivs his head, picks up his shield and spear, and goes out 
right at the head of his men.) 

Scop {his burning eyes looking far into the future) : . 



Fearless in battle, 

The weal of the people 

Westward he wends, 

Curbing- his pride 

Future enfold 

Where, glowing and grim, 

His fearless sons. 

The near of kin 

No coward path 

No wealth they win. 

But roaring winds 

They move o'er the waters 

Their bark like a bird 

Till far in the field 

They see the land, 

A rising rock. 

The savage lurks, 

But they fight all foes 

The will of the people 

I see them sire, 



great folk-defender, 
ever his will, 
great warrior chief. 
in pact of peace. 
the far fought field 
like gods they go, 
with strength to shield 
with courage keen. 
the path they plod 
no welcome hoard, 
and dangerous rocks 
by might of the Avind* 
with breast of foam,t 
of the pathless blue, 
the far-loved land, 
their resting place, 
cold famine lowers, 
as their fathers fought, 
ever their will. 
I see them! Behold! 



EPISODE ONE. 

17th Century. Scene One: — Leyden, Holland. 

{A hand of refugees, men, women and children, dressed 
plainly in the costume of the period of James I, come in from 
the left and scatter about. The men wear dull black cloth suits, 
stockings of dark grey or green fastened to the breeches by rib- 
bons, collars and cuffs of white Holland, and wide black hats fin- 
ished with a narroiv band of ribbon and a silver buckle. A few 
■wear black cloaks lined with fustian. The women's goivns are of 
grey, purple and brown cloth turned under and looped back so 
as to show petticoats of homespun. White aprons, collars and 
cuffs, kerchiefs about the head, cloaks and stout shoes complete 
their costumes. % 

During the first part of the scene music suggestive of yearn- 



*"Beowulf," line 217 in "The Oldest En);;Ii»h Epic," Translated by Francis B. 
Gummere, The MacMillan Companv, New York, 1909. 
tibid, line 218. 

JSee "Historie Dress in America, 1«07-1S00," by Elisabeth McClellan, Georg'e 
AV. Jacobs and Company, Philadelphia, 1904, pages 96-97, figures 60. 67; also 
'■Costumes and Scenery for Amateurs," by Constance D'Arcy Mackay, Henry Holt 
and Company, New York, 191.5, pages 134-1.*57. 



46 

ing for home is heard. "My Ain Countrie" or "Home, Sweet 
Ho7ne" 7night he softly played or sung A 

People in Dutch costume enter, conspicuous in their wooden 
shoes.t They greet the Pilgrims, hut neither can understand the 
other. The children of the tivo nationalities, however, are soon 
playing folk games together. William Breiuster and John Roh- 
inson watch them with great distaste.) 

Robinson {gravely) : 

These people of the low-countries, brother, have strange 
customs and a language harsh and uncouth. 

Brewster : 

Thou art right, and though we have lived here a dozen years 
we learn neither their ways of trade nor their language. 

Robinson {sternly) : 

Except the children, who by the manifold temptations of the 
place ''are drawn by evil examples into extravagant and danger- 
ous course."* 

Bradford {ivho, with others, has joined the group) : 

We've left *'our native soyle and countrie, our land and 
our livings"* and yet live strangers in a strange land. 

Robinson {in grave reproof) : 

Young man, remember that we have borne all things by the 
assistance of God's grace. When, in England "some were taken 
and clapt into prison," and "others had their houses besett," 
Ave kept our meetings every Sabbath and were prepared to bear 
all things* 

Bradford {ivith hoived head) : 

Thou art right. Let the gloroious name of Jehovah have all 
the praise, {then raising his head with spirit). But what is 
now to do f Here we live but as men in exile. 
Brewster : 

Brother Bradford is right. We must find a home where wo 
can speak the language of our own countrie, follow our oavh cus- 
toms and worship God in our own way. 
Bradford: 

Then we must sail across the sea, and set up a home in the 
wilderness. 
A Voice {in the crowd) : 

They say in America "savage and brutish men range up 
and down."* 



tThese songs may be found in "Heart Songs*,*' Chappie Publishing: Company, 
Boston, lft09. 

^"Costumes and Scenery lor Amateurs," Mackav. pages 142, 144, 145. 

♦See "History of Plymonth Plantation," bv William Bradford. Houghton 
llifflin Company, Boston, 1012. 



47 

Second Voice: 

Aye, 'tis true. Let us seek a safe land where ease and riches 
will reward our toil. 

Thied Voice : 

There is a rich and fruitful land, Guiana, they call it. Men 
say it is blessed with perpetual spring, and the soil brings forth 
in abundance.* There is gold for us there. 

Several Voices: 

Guiana ! Guiana ! 

A Youth {the soul of the dauntless Saxon burning in his eyes) : 
What are we, brethren, men or babies'? Is the soil hard? 
To break it is the work of men. Are there savage men? To con- 
(juer them is the work of men. In Guiana there may be riches 
for a few, but are we to think only of ourselves f What of the 
weak bodies of the women and children ? What of them in your 
sunni}^ southland where fevers swelter in the swamps? What is 
our end? To j^erpetuate the Saxon race? Then let us not de- 
feat that end. The finger of God points westward ! 

Brewster : 

Well said, voung man. It is not with us as with men whom 
small things can discourage or small discontentments cause to 
wish themselves at home again. What say the people? 

The People {tvith the exception of the three ivho have spoken) : 
The West! The West! 

Brewster : 

You others, what say you? 

The Three : 

We bow to the will of the congregation. To the West! 

{Gatherinr/ together their pitifully few possessions the peo- 
ple move right with Brewster at their head. Off stage a quartet 
of voices sings "Onivard Christian Soldiers.") 

Scene Two : — Plymouth Rock. 

{There is tumultuous music, as of roaring tempests and 
irildly dashing waves. Then the Pilgrims come in from the left 
and huddle together at the foot of the rock. They are bent by 
hardship and illness; children are crying; men are comforting 
'iveeping ivomen.) 

A Woman : 

Is this the place ; this barren rock? 



•Vol. I of "History »f IMyinoiitli IMantaUoii,'' WiUiam Bradford, Houghton 
JNIiffliri Company, Boston, 1912. 



48 

A Man : 

Hiis]), wo must he brave. 

A AVoMAX : 

Brave! Have we not been brave, in prison, in storm when 
onr men sicken, and our children die? 

{The Pihjnws draw closer fof/ether — IViUiani Breirster, 
John Carver, William Bradford, Edward Winslow and Miles 
Standish in the center taWmcj earnestly and pointing foricard. 
In the meantime a few of the servants and sailors have drawn 
to one side.) 

A Servant [roughly) : 

The woman is right. 'Tis a poor land. 

First Sailor: 

And Where's their patent, I ask! The charter from the king- 
is for land granted to the London-Virginia Company. "What 
right have they here? 
Servant : 

They have no right, and if they have no charter there i- no 
law to make us obey them. 

Second Servant: 

AVe can do as we will, we can go where we will, {to the 
sailors) : Wilt take us to the south? 
Sailors : 

Aye, that we will. 

{They crowd closer together ready to quarrel tvith each 
other now they are one against their masters, when the crisp 
voice of John Carver, tvho wutJi the other leaders has been bend- 
ing over a paper at the foot of the rock, breaks in on their quar- 
reling.) 

Carver : 

Brethren, hark ! Before we make the landing it is meet that 
we sign a compact "for our better ordering and preservation'^ 
for tlie mutual good. We five have signed. Listen and sign. 
{He reads.) 

''In the name of God, Amen. We, whose names are under- 
written — solemnly and mutually in the presence of God, and one 
another, covenant and combine ourselves together into a civill 
body politick — to enacte, constitute and frame such just and 
equall laws — from time to time, as shall be thouglit most meete 
and convenient for the generall good of the colonic unto wliicli 
we promise all due submission and obedience."* 



*' Maml^vey Compact —"History of I'lymoiiUi I'lsnitatioti," William Bradford, 
Vol. I, pag'e 11)1; also in "American Historical Documents," \o\. 4o of Harvard 
Classics, P. F. Collier and Son, New York, 1010. 



49 

{There is ready applause from those near the rock, as, one 
after another, they step forward to sign. The serimnts and sail- 
ors stand wonde ring aloof.) 

Second Sailor {amazed) : 

They're sig'iiing, everyone. 

First Servant {hesitatingly) : 

^'For the mutual good," that means for all alike. 

Second Servant : 

Our fortune lies south, they can't make us sign. 

First Servant {with decision) : 

Our fortune is here with our masters. Come, sigii. {As 
Carver motions him toiuard the compact he steps boldly forward, 
and after a momefit's hesitation the others follow.) 

Carver : 

Brethren, (lod has made us one, let us land. 

{Heads raised with reneived courage, the Pilgrims land one 
by one, forming for a moment the familiar tableau of ''The Land- 
ing of the Pilgrims,'"^ before they all move off to the right to 
the inspiring strains of "Onward, Christian Soldiers.") 

FIRST INTERLUDE. 

{There is a commotion down stage, and with a roar of vigor- 
ous laughter the Saxons push in from the left joyful from the 
hunt. ) 

^^theling {pointing toward Heorrenda as he throws himself 
down on the ground) : 

What think you, thanes, of our visionary Scop? 

A Thane : 

He sings strange stories to the tune of that harp. But they're 
hearth-companions, those brave far -wanderers. 

^theling : 

Doughty folk-defenders, every one. But art sure. Scop, that 
the thanes in thy story are of Saxon blood? 

Scop {as if inspired) : 

vSaxons, sires, Saxons, sons of thy sons : 

Master-friends, making a mighty race 

In mutual peace from murderous strife 

Such as we wage, they make a pact ; 

•See Gisbert's painting- on p. 84. Vol I, of "The History of Nations," J. D 
Morris and Company, Philadelphia, 1906; page 57, Vol. I, of "History of the 
United States," J. A. Stewart, E. H. Butler and Company, Philadelphia, 1875; page 
46. "History of the Fnitod States," W. C. Dotib, Doub and Company. San Fran- 
cisco. 1008. 



Their lioardes be common, their hero hoardes, 

And each tenders other tokens of love. 

The hand of friend, the hand of foe 

They firmly grasp, the great in heart. 

"And honor they keep in the olden way."* 

No eorl wills feud by will of his own, 

Each eorl's peril is peril of all. 

"So live the clansmen in cheer and revel, "t 

Till foes fashion evil, a deadly feud, 

Then mighty they meet, the many nobles, 

Sit "assembled and search out counsel, 

How it were best for bold-hearted men 

Against harassing terror to try their hand "J 

Then rise hearth-companions, righteous and wrathful, 

AVardens of meadhall, masters mighty. 

Pledge each other, the folk-protectors. 

Wisest of men, brave wielders-of-wonders. 

Trusting in God, their warden and guard. 

Up sires, watch them, tlie people's brave shepherds. 

{The Saocous rise, raise their shields, and hrandishing their 
spears as if ready for defense, move to the right where Heor- 
renda points, r/oing out in dignified order.) 

EPISODE TWO. 

18th Century. 

(In the foreground tables and chairs are so arranged that 
the grouping in the well known photogravure of ''The Declara- 
tion of Independence' "^* can be reproduced in some detail. The 
members of the Continental Congress enter with the grave dig- 
nity of men deciding weighty matters. They are dressed in strong 
fustian coats over nankeen knee breeches, loiv buckled shoes amd 
three cornered hats.^ Their faces are anxious and careworn with 
their long deliberations, but they walk with the step of men who 
know whither they are going. When they are seated John Han- 
cock rises to preside over "the solemn sitting.") 



♦"Beowulf line 1865 of "The Oldest F.tiKliHh Kpio," translated bv F. B. Gum- 
mere, MacMillan Company, New York. li)Ot». 

tBeowulf, line 90. 

JBeowulf, lines 172-174. 

♦♦Photogravure in Vol. I. page 1".>2. of "(ireat Uebntes in .Vmerieaii History," 
Current Literature Publishing Company, New York, l!)i:;. Colored plate of the 
same in "History of the American People," Beard and Bagley, the MacMillan Com- 
pany, New York, 1018, page 14;5. Photograph of Painting by Dumaresq in "Amer- 
ican Historical Documents," Harvard Classics, P. F. Collier and Son, New York 
1910. 

1I"HistoricaI Dress in America, 10O7-1S0O," Elisabeth 'McClellan, George W. 
Jacobs and Company, Philadelphia. 1904, pages .{16-028; also "('o.«tumes ami 
Scenery for Amateurs," Mackay, Henry Holt and Company, New York, 1915, 
pages 150-165. 



51 ■ 

Hancock : 

Gentleinen of the Continental Congress, we are again, by the 
grace of God, met to deliberate the resolution upon the Independ- 
ence of these United Colonies. May we act with all solemnity 
and wisdom. {He sits.) 

Speaker {rising from the body of the house) : 

Mr. President : Let us pause. This step, once taken, can- 
not be retraced. {Cries of "Hear! Hear!") This resolution, 
once passed, will cut off all hope of reconciliation. If success 
attend the arms of England we shall then be no longer colonies 
with charters and with privileges — we shall be in the condition 
of other conquered people at the mercy of the conquerors. {Ap- 
plause.) For ourselves, we may be ready to run the hazard ; but 
are we ready to carry the country to that length? {cries of "No! 
No!") Is success so probable as to justify it? Where is the 
military, where the naval power, by which we are to resist the 
whole strength of the arm of England — for she will exert that 
strength to the utmost? Can we rely on the constancy and per- 
severence of the people? {Cries of "We can!") Or will they not 
act as the people of other countries have acted, and wearied with 
a long war, submit, in the end, to a worse oppression? {A firm 
voice from^ the house cries "Never!" then two or three shout 
together, "Never." Hancock raises his hand for silence, and 
the speaker continues.) I shudder before this responsibility. It 
will be upon us, if, relinquishing the ground on which we have 
stood so long, and stood so safely, we now proclaim independ- 
ence, and carry on the war for that object, while these cities 
burn, these pleasant fields wdiiten and bleach with the bones of 
the owners, and these streams run with their blood."* 

{The speaker, his voice trembling with the force of his emo- 
tion, sits. Several, with blanched faces, look at each other as if 
they already saiv their devastated homes. There is hearty ap- 
plause from, one corner. But almost immediately John Adams 
is on his feet, direct and earnest in his plea for what he knows is 
right. ) 

Adams : 

Mr. President: "Sink or swim, live or die, survive or per- 
ish, I give my hand and my heart to tliis vote. {There is a burst 
of applause) — Why should we defer the declaration? If we post- 
pone independence, do we mean to carry on or to give up the 
war? Do we mean to submit and consent that we ourselves shall 
be ground to powder, and our country and its rights trodden 



•See Daniel Webster's Oration, "Adams and Jefferson," Vol. I, page 193, of 
"Great Debates in American History." 



52 

•lown ill the dust? We never shall submit {applause and cheer- 
hi<j.) The war, then, must go on. We must fight it through. And 
if the war must go on, why put off longer the Declaration of Inde- 
pendence ? Since we must fight it through why not put ourselves 
in a state to enjoy all the benefits of victoiy if we gain the 
victory! 

*'If we fail, it can be no worse for us. But we shall not 
fail. The cause will raise up armies ; the cause will create navies. 
The jjeople, the people, if we are true to them, mil carry us, and 
will carry themselves, gloriously, through this struggle, {great 
applause and cheer'mg.) I care not how fickle other people have 
been found. I know the people of these colonies {applause.) 
- - Sir, the Declaration will inspire the people with increased 
courage. Read this Declaration at the head of the army, every 
sword will be drawTi from its scabbard and the solemn vow ut- 
tered to maintain it, or to perish on the bed of honor. {There 
is wild applause. Several have risen.) 

* ' Sir, I know the uncertainty of human affairs, T)ut I see, I 
see clearly through this day's business. You and I, indeed, may 
rue it. We may not live to the time when this declaration shall 
be made good. We may die ; die colonists ; die slaves ; die, it may 
be, ignominiously and on the scaffold - - But, whatever may 
be our fate, be assured, be assured that this Declaration will 
stand. {There is a hurst of cheering.) - - We shall make this 
a glorious, an immortal, day. When we are in our graves our 
children will honor it. They will celebrate it with thanksgiving, 
with festivity, with bonfires, and illuminations. On its annual 
return they will shed tears, copious, gushing tears, not of sub- 
jection and slavery, not of agony and distress, but of exultation, 
of gratitude, and of joy. Sir, before God, I believe the hour is 
('()me. 

{He has spoken as one inspired. There is a spontaneous 
outburst of applause. Men have sprung to their feet. There 
are shouts of "Question! Question!" At a motion of Hancock's 
hand, he who is secretary of the Congress reads.) 

Secretary : 

''When in the course of human events, it becomes neces- 
sary for one people to dissolve the political bands which have 
connected them with another, and to assume among the powers of 
the earth, the separate and equal station to which the laws of 
nature and of Nature's God entitle them, a decent respect to 
the opinions of mankind requires that they should declare the 
causes which impel them to the separation. 



•"Great Debates in American History," Vol. 1, p. 1!)4, Current Literature Pub- 
lishing Company, New York, lf>13. 



53 



'*We liold these truths to be self-evident, that all men are 
created equal, that they are endowed by their creator with cer- 
tain unalienable Rights, that among these are Life, liberty 
and the pursuit of Happiness, {proloiiged applause.) 

'*We therefore, the Representatives of the United States of 
America, in General Congress, assembled, appealing to the Su- 
preme Judge of the world for the rectitude of our intentions, do, 
in the name, and by the Authority of the good people of these 
colonies {applause) solemnly publish and declare. That these 
United Colonies are, and of Right ought to be Free and Inde- 
pendent States, {unanimous applause) - - and for the sup- 
port of this Declaration, with a firm reliance on the protection of 
Divine Providence, we mutually pledge to each other our lives, 
our fortunes, and our sacred honor."* 

{Durinq the final words the five original niemhers't of the 
committee have risen, and at the close of the reading stand in 
front of the chairman's table, completing the tableau of the pho- 
togravure. For a moment the picture is held. Then men rise 
to sign the paper. As John Hancock, with the quill pen, signs 
in his big bold hand he sags) : 

Hancock : 

There, I think Mother Britain can see that without her spec- 
tacles. $ 

Another : 

May God be my witness. I do this for the people. May they 
approve my action. 

{There is the glad note of a bell, a shout. Someone calls, 
''Listen!" Then there is a joyous clamour of hurrahs, the burst 
of fi,reivorks, the glare of bonfires, tvild applause, the exultant 
tolling of a bell, the stirring notes of patriotic music, "Yankee 
Doodle," for instance, as the members of the congress, with 
firm hand and uplifted spirit, sign the Declaration and pass out 
right.) 

SECOND INTERLUDE. 

{As the last members of the Congress leave the scene and 
the shouts of the people off stage grow fainter, they are taken 
up, close at hand, and the Saxons burst in brandishing their 
spears and shields, and urging before them the scop. The aethe- 
ling breaks off a ring from his arm and casts it toward the scop. 



•Declaration of Independence. Vol. I, page 210 of "Great DebateM in Amerifai* 

Hi»t»ry," Current Literature Publishing Company, New York. 101.3. 

tMembers were Thomas .leffer.son, John Adams, Roger Sherman. Robert R. 
LiviBgston and Doctor Franklin. 
J"Great Debates," page lOS. 



54 



They group themselves about him down stage to the left, leaning 
on their spears or resting on one knee, their attitudes expressing 
action rather than repose.) 
^-Etheling : 

A wealth of treasure for thee, scop ! The heroes of thy tale 
are lusty warriors, '* We never shall submit" didst say ? Every 
sword shall be drawn from its scabbard"? Thanes, 'twas a 
big-hearted man. I could see their biting blades and brandish- 
ing spears when they heard his word, 
A Thane : 

They wove mighty chieftains. Fight they again, thinkest 
thou, scopf 
Scop: 

Ave, mv h)rd. 

^ETHELIN(i: 

On with thy story, scop. There is treasure for thee yet. 

Scop {Sings) : 

Westward they wend, • far into tlie wilderness, 

Winning a world for the people's best weal. 

Great grows their glory, great their treasure ; 

Bright are their banquet halls, joyful and bright. 



Then comes a day, 
When father and son 
Warfare and hatred 
Hatred and warfare 
But God is with 
Sends soul of Saxon 
Soul of the Pilgrims 
P^air fields are fired, 
Death blows are sounded 
Hard wars are waged 
Brother fells brother 
But a master-friend rises. 
Defender of hall-folk, 
He is the valiant. 
He is the people-protector, 
Jjisten Thanes, listen! 



dark day in folk-hall 

are foes in feud ; 

waken again ; 

that silences harps. 

the hero-defenders. 

that silences hatred ; 

that stands for the |)eople. 

fairest of folk fields ; 

mid din of battle ; 

by doughty warriors ; 

with flashing brand. 

friend-of-the-people. 

white folk and black folk, 

he is the victor. 

the peace-lord. 

to hero-tale, listen ! 



{During his last ivords Heorrenda has moved gradually to- 
ivard the right so that now he stands opposite the others, ivhom 
he has motioned hack, pointing with his left hand to the scene 
across tvhich pass the figures of his vision.) 

From now on until the end of the pageant the Saxons re- 
nt nin on the stage, interested spectators of all that takes place, 
and moved at moments of great stress to the attitude of hounds, 
straining at the leash.) 



55 

EPISODE THREE. 

19th Century. 

Scene One: 1861. 

{There is a confused noise off stage, and a crowd of men* 
enter. Most of them look apathetically indifferent, but the mob 
spirit is among them, ready to burst out at any moment, and, far 
underneath it, the spirit, that, once kindled, will rouse to action 
for the common good. As the scene progresses the crowd in- 
creases, a few women and children* hovering timidly oyi the out- 
skirts. One man waves a paper, and talks excitedly. At first his 
words are undistinguishable, but at last we hear them clearly.) 

First Man {loudly) : 

Secession, I tell you. 

Second Man {indifferently) : 

Well, let 'em secede, and take their niggers wherever they 

want to. 

Tbird Max {ivith sane decision) : 

The fellow's right. "If the cotton states choose to form 
an independent nation they have a clear moral right so to do."t 

Second Man : 

What have we to do with their moral right? We've got our 
work and our families to think about. {He indifferently lights 
his pipe. ) 

Fourth Man {with bombastic braggadoccio) : 

I say with General Dix, ''If any one attempts to haul down 
the American flag, shoot him on the spot"! 

{There are shouts of "Hurrah!'' "That's the spirit!" and 
others of "That's enough!" "Shut up!") 

Second Man : 

Talk sounds fine. But we've got to think of ourselves. Let's 
stop our talk and get back to work. {He begins to walk away, 
several following. ) 

First Man : 

But listen, men. Secession destroys the Union. We can't 
see it fall, we 've got to preserve it. 

Second Man {over his shoulder) : 

How are we going to do itf We can't make 'em stay. 



•Costumes in "CostiimeH and Scenery for Amateurs," Constance DAicy Mac- 
kay, Henry Holt and Company, New York, 1915, pages 170-175. 

(Horace Greely in the New York Tribune. February 2:5, ISC.l ; «»(;reii< nelmtes 
in y^mieriean Historj," Current T.itoratuie Publi.sliiniJr Company, Vol. f>. 



5G 

First Man {electrically) : 

Don't you see, men; won't you see? Secession means war! 

(7^ is as if an electric shock had passed through the crowd. 
Every man starts, then stands for a moment dumb. The second 
man, out beyond the edge of the crowd, takes his pipe from his 
lips and stops, with open mouth, but no words come. But in a 
moment the tension breaks.) 

Fourth Man (boldly) : 

Let's face it then. Come on, let's free the slaves. 

{A voice shouts '^ Hurrah!" Another begins singing *' John- 
nie Get Your Gun" or ''Wlien Johnny conies Marching Home."-' 
There are excited nmrmurs, and a movement all through the 
croivd. Then a fifth man leaps above them and raises his hand 
[or silence. Gradually the noise dies down.) 

Fifth Man : 

Me 're mad, fellow citizens. We would all save the Union. 
But would we do it at the terrible cost of war? A war of brother 
against brother, father against son? At the cost of bloodshed, 
famine, misery, ruin, death? Pause at the thought of a land dev- 
astated and a people destroyed. 

(The croivd is sobered. Men look at each other and ^nutter, 
''He's right" ; tvomen weep and edge toward their men in the 
crowd. Then a sixth, the soid of the dauntless Saxon, the soul of 
the steadfast Pilgrim in his eyes, leaps up.) 

Sixth Man (with fire) : 

I, too, bid you pause, men ! Not before the thought of devas- 
tation and death ! But before the cause for which we would 
tight. We may talk of the slave trade, we may talk of secession, 
but underneath it all the issue at stake is whether the ties of a 
common ancestry, common interests, common institutions are to 
be broken or are to last forever, (applause.) Remember Lin- 
coln's 'words, "This country, wdth its institutions, belongs to the 
people who inhabit it - - Though passion may have strained, 
it must not break our bonds of affection."! (witJi great impres- 
siveness.) "This country, with its institutions, belongs to the 
people who inhabit it." What people, I ask? The people of the 
North? The people of the South? (During tliis speech the Sax- 
ons have become fnore and more alert. Now they are half rising 
as if to leap upon a foe. The Aetheling is on one knee, his spear 
poised for hurling. The speaker, with uplifted hand points he- 

*"When Johnny Comes Marching- Home. "Heart Songs," Chappie rubiiahing 
Company, Boston, 1909. 

tI-.incoln's "First Inaug-ural Address" on pages 17-25. Vol. VI. of "tireat Do- 
batpH in Amrricnn Hi.storj-," Current Literature rublishing Company. Xew York. 



57 

yond the crowd, as if he scnv far off a light guiding the ivay.) 
Remember the soul of our fathers, that led them through waves 
and tempests for the common good. The soul of a great people, 
burning in us through the centuries, bids us answer. We must 
fight! But for all the people! For the people of these United 
States! The Union must be saved ! {applause.) 

Sixth Max {Continues) : 

Are we ready, men, to face the issue, the sacrifice of our- 
selves for the common good, to prosecute a war of the people, to 
save the people? {Again there is a burst of applause. As it 
dies doivn a man dashes in ivaving a paper tvildly above Jiis 
head.) : 

Seventh Man : 

President Lincoln has issued a proclamation ! He calls for 
75,000 men ! 

Sixth Man {ready to leap from his place) : 

For the Union, fellow citizens ! That the Union shall stand ! 
Who's ready to volunteer? 

{There is cheering and applause. A bugle call sounds off 
stage to the left. A band bursts into ''The Battle Hymn of the 
Republic." All turn to the left as one to follotv the leader. In a 
'moment the disordered march begins to assume a. military order, 
and the last of the men march off with disciplined precision, sing- 
ing with patroitic fervor, ''The Battle Hymn of the Republic," 
and the women wave after them a brave God speed.) 

Scene Two : 1863. 

{The music continues, there is the boom of guns, then shouts 
of rejoicing, and men in blue, fresh from the victory of Antietam 
march in from the left, men, women and children cheering them 
at every step. Suddenly, from out the crowd President Lincoln 
appears and rises a step above them at the foot of the rock. As 
the crowd opens, leaving the space about him clear, a slave, bent 
by labor and oppression and shacMed with heavy iron chains, is 
seen crouching on the ground, before him. Tlie President raises 
his hand and there is instant silence.) 

Lincoln : 

My fellow Countrymen : — For the well-being of mankind in 
this terrible struggle it has been *'My earnest desire to know the 
will of Providence."* ''Whatever shall appear to be God's will 
I am prepared to do."* What great principle has kept the con- 
federacy so long together? A sentiment in the Declaration of 

•Lincoln to Committee. September 13, 1863, "Creat Deltntes in American His- 
tory," Current Literature Publishing Company, New York, 1013, Vol. VI, p. 217. 
Speech of February 21, 1850, in "Great Debates," Vol. VI, page 13. 



58 

Independence which gave liberty not alone to the people of this 
country, but hope to all the world for all future time." "My 
paramount object is to save the IJniont and wliat I do, T do to 
that end. '*It is now for the country and the world to pass judg- 
ment."** {apiAausc.) 

Now, therefore, I, Abraham Ijincoln, President of the United 
States, by virtue of the power in me vested - - do order and 
declare all persons held as slaves within said designated States 
and parts of States are, and henceforth shall be free. (As he 
utters these words with solemn distinctness, Lincoln, by a ivave 
of his hand, as with a magic wand, causes the iron chains sud- 
denly to fall ivith a clang from the slave, ivho rises in wonder- 
ment to find himself free. During the applause which follows, 
and during the concluding words of the speech he gazes in awe 
and bewilderment from his unshackled hands and feet to the 
great man above him ivho has performed the miracle. As the 
applause dies doivn Lincoln continues.) And I further declare 
and make known, that such persons of suitable condition, will be 
received into the armed service of the United States to garrison 
forts, positions, stations, and other places, and to man vessels 
of all sorts in said service. 

"And upon this act, sincerely believed to be an act of justice, 
warranted by the constitution, up)on military necessity, I invoke 
the considerate judgment of mankind, and the gracious favor of 
Almighty God."* 

THIRD INTERLUDE. 

{The Saxons, who from the side of the stage have watched 
ivith eager, gleaming interest the whole of the scene, starting up 
at moments of crises, and joining at the last in shouts of jog, 
turn now and look at each other in awe. The stage is emptly ex- 
cept for themselves and scop, who stands pointing off into the 
future ivhere Ids far-seeing eye has perceived the glorious con- 
flict and its triumphant climax.) 

A Thane : 

My lord, 'twas as if I saw it with my very own eyes — the 
folk-meet, the battle, the man of brave counsel. 
^Etheling {with pride) : 

We are their sires, thanes. Those stout wave-walkers, those 
Ijilgrim-wanderers that fared across the sea, bore westward our 
sons to grow more valiant fighting for the common good in tlie 
far-off years. Scop, thy tale is worth the ring-hoard of a king- 
dom. On, the reward is yours. 

tTelegram to Horace Greeley, August 22, 1862 — Ibid, page 214. 
♦•Address at White House, September 23, 1863 — Ibid, 218. 

♦Emancipation Proclamation, Vol 43 of Harvard Classics, P. F. Collier and 
Son, New York, 1910. 



59 



Scop (sings) : 

They rule, the righteous, 
''Whose message has might 
Delighting in power, 
"No strain of struggle 
Then looms a monarch. 
With dreams of conquering 
In ruthless raids 
Dealing forth death 
Then up rise the righteous. 
Armed men, spearmen, 
Stalwarts with shields 
Wardens of people-weal. 
Waves churn, weapons fly. 
The great in soul 
From red battle-horror 
The Saxon ! the Pilgrim ! 
Soul of the Saxon, 
Down through the ages 
For kinsfolk ! For f olkweal ! 



the high born righteous, 
in many a land."* 
at peace with the world, 
and stress of woe. ' 't 
a monarch mighty, 
a place in the sun. 
he fares o'er the earth, 
to the doughty and brave, 
the fearlessly righteous, 
in SAvift moving sea-wood,J 
and bright gleaming swords, 
ready with weapons, 
wielded 'neath welkin, 
brave succor bring, 
they rise up heroes, 
in arms for the world ! 
soul of the Pilgrim, 
Sires, send vour spirit. 
For f olkweal ! Behold ! 



{At first, as the scop sketches briefly the days of peace and 
prosperity, the Saxons sink hack and listen with half -closed eyes. 
But at the first mention of a foe they rouse, and during his re- 
cital grasp their spears with gutteral exclamations of savage 
vengeance. At the first hint of victory they leap gladly upright, 
and at the close flourish their spears with a shout. The tableau 
is held for a moment. Then as the scop waves them to the right 
that the events of the next episode may unfold before them they 
sink back once more to the attitude of lookers on.) 

EPISODE FOUR. 

20th Century— 1914-1918. 

{The early part of the scene reflects the spirit of prosperous 
peace. Men, women and children walk about in happy content- 
ment. A group of young people move across the stage dancing 
a dreamy hesitation waltz.* "^^ Then comes a group of college men 
singing boistrously "Solomon Levi."^ They break off their song 
as a newsboy rushes suddenly in shouting, "Extra! Extra! Ger- 
mans invade Belgium!" There is a flurry of excitement — the 
Saxons down stage grasp their spears — the music changes to 



•Beowulf, line 79 in "The Oldest EneliHta Epio," Translated by Francis B. 
Gtimmerp, MacMillan Company, New York, 1909. 

tHecnvulf, line 1721. 

fShips. 

•*Any good present day waltz music. 

1i"Tlie Most Popular College Sonsn," Hinds, Noble and Eldredge, New York, 
1906. 



60 



^i rni 



The Marseillaise"^ while the crowd clamour for papers. But 
their excitement soon dies down, they toss their papers aivay, 
the college men take up their song again in the middle and peo- 
ple move about as before, the Saxons reluctantly laying aside 
their spears. Again a hoy runs in shouting, "Extra! Extra! The 
Lusitania is Sunk!" Again the Saxons rouse and the people 
gather excitedly while we hear the music of "Somewhere in 
France is a Lily"** hut this, too, dies aivay as the college men 
go off singing, "Good Night, Ladies." Then men bearing great 
placards begin to appear blazoning forth "Treaties Violated!" 
"The Freedom of the Seas Destroyed!" "Make the World Safe 
for Democracy!" While we hear a moving medley of such airs 
as "Columbia the Gem of the Ocean,"* "Marseillaise,"* "Dix- 
ie,"* and "Joan of Arc,"* people begin to gather from all sides, 
picking up the papers they once discarded and pointing excitedly 
to their headlines. The Saxons group about their aetheling ready 
to dash forward. There are confused shouts of "Lusitania!" 
"The Neutrality of Belgium!" and "Down with the Hun!" The 
music changing fitfully from one air to another, the moving 
about of the people, the shouts, the angry faces give the effect 
of a t'umidtuous sea rising to overwhelm. Suddenly the croivd 
surges to attention ivith a shout, as President Wilson appears 
on an eminence in the rear and raises his hat with a familiar ges- 
ture. Then as the people group about him in a solid mass, he 
speaks in clear, firm, ringing tones.) 

President Wilson : 

My fellow Countrymen: — ''The supreme test of the nation 
lias come. We must all speak, act and serve tog-ether. f The 
choice we make for ourselves must be made with a moderation 
of counsel and a temperateness of judgment befitting our char- 
RctQv and our motives as a nation, {applause.) The wrongs 
against which we now array ourselves are not common wrongs ; 
the}^ reach out to the very roots of human life. We are now 
about to accept the gage of battle with the natural foe to lib- 
erty, - - to fight thus for the ultimate peace of the world and 
for the liberation of its peoples, the German people included ; for 
the rights of nations great and small and the privilege of men 
ever^-Avhere to choose their way of life and of obedience. The 
world must be made safe for democracy, (applause.) Its peace 
must be planted upon the trusted foundations of political lib- 
ertv. ' ' 



{"Heart Soiiiss", Chappie Publishing Company, Boston, 1000. 
**M. Wittmark and Sons, New York. 

•"Home Songs" — Hinds, Noble and Eldredge, New York, 1000. 
tMessage to the American People, April 15. 1017, in '•Why Wo Are at "War," 
Harper Brothers Publishers, New York, 1017. 



61 

*'We have no selfish ends to serve. We desire no conquest,. 
no dominion. - - We are but one of the champions of the 
rights of mankind, {applause.) - - There are, it may be, 
many months of fiery trial and sacrifice ahead of ns. It is a 
fearful thin,<>: to lead this g-reat, peaceful people into war, into 
the most terrible and disastrous of all wars, civilization itself 
seeming- to be in the balance. But the right is more precious 
than peace, and we shall fight for the things which we have al- 
ways carried nearest our hearts — for democracy, for the right 
of those Avho submit to authority to have a voice in their own 
governments, for the rights and liberties of small nations, for a 
universal dominion of right by such a concert of free peoples as 
shall bring peace and safety to all nations and make the Avorld 
itself at last free, (preat applause.) 

"To such a task we can dedicate our lives and our for- 
tunes, everything that we are and everything that we have, with 
the pride of those who know that the day has come when Amer- 
ica is ]>rivileged to spend her blood and her might for the prin- 
ciples that gave her birth and happiness and the peace which 
she has treasured. God helping her, she can do no other."* 

(Js he speaks the last words with solemn, reverence and 
bared head uplifted, there is a second's breathless silence. Then, 
with a fjreat Imrst of applause, the crowd surges apart, and sud- 
denly we see the Pilgrim Fathers grouped-upon the rock pointing 
steadfastly into the east. As if live fingers pointed the ivay, the 
people draw back into a solid ivall looking totvard the east. There 
is a wild, rude shout of joy, and the Saxons leap forward, brand- 
ishing their iveapons to lead a great procession that passes seem- 
ingly without end across our vision. We hear the strains of 
"Over There," then men in uniform begin to appear; there come 
artillery, ammunition and proinsion trucks, armies of Red Cross 
nurses, sailors and air-men, and last of all, rank upon rank of 
soldiers in khaki, the stars and stripes (it their head, marching in 
solid phalanx — the Anglo-Saxon race risen to defend the com- 
mon tveal of the tvorld. As the flag passes by, the music rising 
majestically into "The Star Spayigled Banner," the people stand 
with bared heads as if pledging themselves anew to their sacred 
task. 'Then the music changes to "America" in which the tvhole 
body of the assembled Anglo-Saxon race join triumphant voice. 



•Message to the Congress, April 2, 1017, in "Why AVe Are at AVar," Harper 
Brothers I'ublishers, New York, 1!)17. 



BIBLIOGRAPHIES 

Writing and Staging a Pageant. 

■"Community Drama and Pageantry" — Beegle and Crawford. Yale 
University Press, New Haven, Connecticut, 1916. The most com- 
plete and most valuable work on pageantry; should be at the 
disposal of any one who attempts a pageant. It has excellent 
chapters on "Writing the Pageant Book." "Production," "Act- 
ing," "Grouping," "Color," "Costume and Setting," "The Dance," 
"Music," "Organization." 

The Appendix has complete bibliographies of references on 
the various aspects of pageantry. 

"Pageants and Pageantry" — Bates and Orr. Ginn and Company, Bos- 
ton, Massachusetts, 1912. Has a good chapter on "The Making 
of a Pageant," and has five examples of pageants — a Roman Pag- 
eant, a Mediaeval Pageant, a Colonial Pageant, etc. 

The Appendix has a good bibliography on the various as- 
pects of pageantry. 

In the text of the pageants are printed the words and the 
music of some old, old songs, such as "Summer is A-coming In," 
"The Hunt Is Up," etc. 

"Festivals and Plays" — Percival Chubb. Harper and Brothers, New 
York, 1912. Invaluable for work in the grades and in junior high 
schools. There are good chapters on Music, Art, Dancing, Cos- 
tuming. 

There is a general bibliography on pageantry, and particu- 
larly a bibliography of the various kinds of music suitable for 
folk games and pageantry. Specimen programs are given. 

"Handbook of American Pageantry"— R. Duval. Taunton, Massachu- 
setts, 1914. Excellent illustrations that are suggestive for group- 
ing, staging, and costuming a Pilgrim pageant. 

■"The Technique of the One- Act Play"— B. Roland Lewis. John W. 
Luce and Company, Boston, Massachusetts, 1918. Chapters on 
Theme, Characterization, Dialogue, Stage Direction and Stage 
Setting; the chapters on The Dramatist and His Audience and 
The Dramatist jind His Technique will prove helpful. 

Historical Development of Pageantry. 

"The Mediaeval Stage" — Edmund K. Chambers. 2 vols. The Oxford 
University Press, 1903. Volume I contains an excellent bibli- 
ography; volume 11 contains much material from original manu- 
scripts. A standard and autiientic work. 

"English Pageantry" — Robert Withington. 2 vols. Harx'ard Univer- 
sity Press, Cambridge. Massachusetts, 1918, 1920. An historical 
outline. A standard and authentic work. • 



63 

Community Drama. 

"The Community Theatre" — Louise Burleigh. Little. Brown and 
Company, Boston, Massachusetts, 1917. 

"The Drama of Savage Peoples" — Loomis Havermeyer. Yale Uni- 
versity Press, New Haven, Connecticut, 1916. 

"The Civic Theatre" — Percy Mackaye. The Macmillan Company, 
New York City, 1912. 

Beegle and Crawford's "Community Drama and Pageantry" and Per- 
cival Chubb's "Festivals and Plays" have good material. 

Materials for a Pilgrim Pageant. 

"Social England"— H. D. Traill. 6 vols. G. P. Putnam's Sons, New 
York, 1902. Excellent material and excellent illustrations of cos- 
tumes, manners, etc. 

"Beowulf" — Translated by Francis B. Gummere. The Macmillan 
Company, New York, 1909. The old Anglo-Saxon metrical scheme 
is observed in this translation. 

"The Indians' Book"— N. Curtis. New York, 1907. Very useful ma- 
terial on American Indians, Indian folk-lore, music and narra- 
tive. 

"Norman Institutions" — Charles H. Haskins. Harvard University 
Press, Cambridge, Massachusetts, 1918. A scholarly and authen- 
tic work. 

"Hiistory of English Poetry" — Courthope. 4 vols. The Macmillan 
Company, New York, 1895. The first volume has good material 
on the spirit of the Anglo-Saxons. 

"The Norman Conquest" — Edward A. Freeman. 6 vols. The Mac- 
millan Company, New York, 1873. Volume I has good material 
on the Anglo-Saxons and the Normans. 

"History of the English People" — John Richard Greene. May be had 
in several inexpensive editions. • 

"The Beginners of New England" — John Fiske. Houghton Mifflin 
Company, Boston, Massachusetts, 1897. A standard work. 

"History of Plymouth Plantation" — ^William Bradford. 2 vols. Hough- 
ton Mifflin Company, Boston, Massachusetts, 1912. Excellent 
illustrations of Puritan dress, costumes, manners, etc. 

"History of Utah" — Orson F. Whitney. 4 vols. The Deseret News 
Publishing Company, Salt Lake City, Utah. 

"Story of the Mormons" — William Alexander. The Macmillan Com- 
pany, New York City, 1902. Based upon original documents. 

Works on American history by Bancroft, Channing, Fiske, Hart, Mc- 
Master, Wilson, and others may be consulted for Colonial, Revolu- 
tionary, Civil W'ar, and current material. 



64 

Pictures and illustrations of dress, customs, manners, etc.^ 
may be found in most of the standard works. 

Copies of the Mayflower Compact, the Declaration of Inde- 
pendence, the Constitution of the United States, the Emancipa- 
tion Proclamation, President AXilson's War Messages, etc., may 
easily be found. 

Costumes, Dances, Outdoor Theatre, etc. 

"Historic Dress in America" (1607-1800)— Elizabeth MacClellan. Geo. 
W. Stokes & Company. Philadelphia, 1904. Good for matters of 
Colonial, Revolutionary, etc., dress. 

"Outdoor Theatres" — Frank A. Waugh. Richard G. Badger, Boston, 
Massachusetts, 1917. Good suggestions may be had for the ar- 
rangement of an outdoor theatre. 

"Patriotic Drama in Your Own Town" — Constance D'Arcy Mackay. 
Henry Holt & Comj^any, New York, 1918. Suggestive and help- 
ful. 

"Costumes and Scenery for Amateurs" — Constance D'Arcy Mackay. 
Henry Holt & Company, New York, 1915. Many practical sug- 
gestions for effective but simplified staging and costuming. 

"Esthetic Dancing" — Emil Rath. A. S. Barnes & Company, New 
York, 1914. A standard work. 

"Folk Dance Book" — C. Ward Crampton. A. S. Barnes & Company, 
New York, 1909. A standard work. 

"Dress Design" — Talbot Hughes. The Macmillan Company, New 
York, 1913. A standard work on costume design. 

"Chats on Costume, or Treatment of Draperies in Art" — G. N. Rhead. 
F. A. Stokes Company, New York, 1906. 

"Practical Stage Directing for Amateurs" — Emerson Taylor. Henry 
Holt and Company, New York, 1916. 

"How to Produce Amateur Plays" — Barrett H. Clark. Little, Brown 
and Company, Boston, 1917. 

Current Volumes on Plymouth and the Pilgrims. 

"The Old Coast Road" — Agnes Edwards. Houghton Mifflin Com- 
pany, Boston, 1920. 

"In the Days of the Pilgrim Fathers" — Mary Carolyn Crawford. Lit- 
tle, Brown and Company, Boston, Massachusetts, 1920. 

"Old Plymouth Trails"— Winthrop Packard. Small, Maynard and 
Company, Boston, Massachusetts, 1920. 

"The Women Who Came in the Mayflower" — Annie Russell Marble. 
The Pilgrim Press, Boston, Massachusetts, 1920. 

"Cape Oddities" — Dennis and Marion Catham. Houghton Mifflin 
Company, Boston, 1920. 



LS?"^ O*" CONGRESS 




014 069 297 9 



BULLETIN OF THE UNIVERSITY OF UTAH 

Entered as second-class matter, June 16, 1906, at 
the PostofBce at Salt Lake City, Utah, under 
Act of July 26. 1891. Published quarterly. 



LIBRARY OF CONGRESS 






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